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PUBLISHED BY 

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AT THE BUTTERICK BUILDING, NEW YORK 
PARIS LONDON NEW YORK TORONTO 


Copyright, /QOj, by The Butter ick Publishing Co., Limited. 

A ll rights reserved. 


Entered at Stationers ’ Hall. 







Dressmaking, TUp to Date 


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FRONTISPIECE —THE SEWING CIRCLE 


HAND-SEWING STITCHES 


IMPORTANT POINTS AND AIDS IN DRESSMAKING 


THE CORRECT METHOD OF ALTERING PATTERNS 


SHIRT-BLOUSES 


DRAPED WAISTS 


SKIRTS 


NOVEL, ARTISTIC SEAMS 


WEDDING AND EVENING GOWNS 


THE TAILOR-MADE GOWN 


COATS AND JACKETS 


PRACTICAL AND ORNAMENTAL STITCHES 


BIAS BANDS AND FOLDS—TURNING CORNERS 


AN EMPIRE TEA-GOWN 


DESIRABLE GARMENTS FOR MATERNITY WEAR 


MAKING /ND FINISHING UNDERWEAR 
THE BATH-ROBE. 


CHILDREN’S CLOTHES 


BOYS’ SUITS 


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SDressmahtrtg, 
TUp to Date 


SIMPLE SEWING STITCE1ES 


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AKING A KNOT.—Holding the threaded needle in the right hand, twist the end of 
the thread once and a half, around the forefinger of the left hand; press, roll 
downward on the ball of the thumb, twisting once or twice; slip off and draw down 
with the middle finger of the left hand. 

BASTING.—There are two kinds of basting; even and uneven. In even basting the 
stitches; and spaces are the same length; in uneven basting, as its name implies, the stitches 

are so formed that they are not of equal length. 

EVEN BASTING STITCH.—Start with 
a knot in basting and always have it on the 
right side; it is more easily removed. Pass 




No. 2.—Uneven Basting 


No. 1.—Even Basting 

the needle over and under the material, mak¬ 
ing the stitches and the spaces the same size. 

To fasten the thread, take a stitch twice over 
the last stitch. (No. 1.) 

UNEVEN BASTING.—In uneven basting the stitch and space are not of equal length. 
The same directions are followed as for even basting, except that the stitch which is taken up 
on the needle is about one-third shorter than the space covered by the thread, as seen at No. 2. 

RUNNING.—In running, the stitches are shorter than in basting and spaces and stitches 
are the same length. It is used 
on seams that need not be very 
strong. 

BACK-STITC PI.—In 
back-stitch, a short stitch is 
taken on the upper and a 
longer one on the under side, 
bringing the needle out a stitch 
in advance. Insert the needle 
to meet the last stitch, passing 
it under the material and out 

again a stitch in advance of the one last taken. (No. 3.) This is used on seams lequiring 
strength, to sew raw edges together, and also in stitching sleeves in a gai ment. Fasten by 
carefully taking two stitches over the last ones which were made. 

HALF-BACK STITCH.—This is the same as back-stitch, with the exception that the 
stitch is taken half-way back instead of all the way, leaving a small space between each stitch. 

3 



No. 3.—Back-Stitch 


No. 4.—Combination Stitch 


























4 


DRESSMAKING, UP TO DATE 





COMBINATION STITCH.—This consists of one back-stitch and two small running 
stitches, as shown at No. 4, and is used on seams not requiring very great strength. It is 
fastened like back-stitch. 

FRENCH SEAM.—This is made by joining a narrow seam on the right side and trimming 
evenly, close to the stitching; turn the seam on the wrong side, crease the edge and take off 
another seam a quarter of an inch deep. This must fully cover the edges of the previous seam; 

consequently the first seam must be trimmed off evenly and the second 
seam be of sufficient depth to cover this, else instead of a smooth finished 
seam the raw edges will protrude on the right side. The method is 
shown at No. 5 . 

FLAT FELL SEAM.—A fell is a seam hemmed down to protect the 
raw edge. Place the edges together, baste a three-eighths of an 
inch seam and sew with combination stitch. If the goods is bias, 
stitch so that the needle follows the thread of the goods and prevents 

ravelling. Remove the bastings; trim 
off the edge which is toward you close 
to the iine of sewing, turn the other 
edge down flat to cover the line of 
sewing, press hard with the thumb 
nail, then baste and hem. (No. 6.) 

OVERCASTING.—Overcasting is 
a slanting stitch, used to keep raw 
edges from ravelling. In taking the 
stitch the needle should always point 
toward the left shoulder. Hold the 
material loosely in the left hand. Do 
not use a knot, but turn the end of the thread to 
the left and take the first two 
stitches over to fasten. Make 
the stitches 
about one- 
eighth of an 
inch apart 
a n d one- 
eighth of 
an inch 
deep. Keep 
the spaces 
bet w e e n 
the stitches 
even, as shown at No. 7. 

OVERHANDING.— 


No. 5.—French Seam 


No. 6.—Flat Fell Seam 


. 


No. 7.—Overcasting 


' 



No. 8.—Overhanding 


Selvages in muslin and certain other materials are best joined by 
overhanding. Baste the muslin with the two selvages together 
and overhand with close 
stitches over and over the 
edge, taking up as few 
threads of the material 
as possible, as shown at 
No. 8, so that when 
finished the edge will be 
smooth and flat and not 
form a cord. 

CAT-STITCHING.— 

Cat-stitching, or, as it is 
sometimes called, catch- 
stitching, is a small stitch 
used to hold the edges of 
flannel and various edges in dressmaking. In the former, place the 
pieces of flannel together and run a seam, taking an ’ occasional 



No. 9. Method of Cat-Stitching 





































DRESSMAKING, UP TO DATE 


5 


back-stitch. Trim off one edge and press the other edge flat to cover the seam, holding the 
material as shown at No. 9. Insert the needle under the flat seam at the upper left-hand 
corner; cross the edge and take a small stitch a few threads to the right through all thicknesses; 
cross again and insert the needle as pictured, taking a similar stitch, always pointing the needle 
to the left and encasing the raw edges. Finish the seam, the effect being shown at No. 10. 

Seams in flannel are also pressed open and cat-stitched, working the stitches over the 





No. 10.—Finished Cat-Stitching 




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No. 12.—Hemming 


raw edge 
of each 
side of the 
seam, thus 
holding 
both down 
well, as 
shown at 
No. 11. 
Cat-stitch - 


ing is re¬ 
ferred t o 
frequently 
in the 
following 
chapters 
for holding 
down the 
edges of 

collars, sleeves, etc., and in other places where it is neces¬ 
sary to hold an edge firmly. In these instances it may be 
made by taking a small stitch at the upper side, then 
another across the edge and below, but making a plain 
stitch instead of a cross-stitch. This stvle of cat-stitch is 
worked from right to left. 

HEMMING.—A hem is a fold of goods turned down 
and folded over to protect a raw edge. The first turn of a hem is the most important; if even, 

the second turn will be even also. Always 
turn a hem toward you. The hemming 
stitch is a slanting stitch, the needle point¬ 
ing directly across the middle of the left 
thumb. 

In turning a hem, crease the edge over 
one-quarter of an inch exactly, creasing 
with the thumb and forefinger. Mark a 
card for the width of the hem, place the 
end of the card at the turned edge and 
mark the desired width, making a perfo¬ 
ration with a pin. Move the line to the 
left and make another perforation; con¬ 
tinue across the material. Fold the hem on 
the perforation. Baste with even basting. 

In hemming do not use a knot. 
Pointing the needle toward you (to the 
right), insert it under the fold, close to 
the right hand. Draw the needle through, 
leaving a little of the thread to be tucked 
under and then sewed down, point the 
needle toward the middle of the left 
thumb and take up one or two threads of 
the cloth and the same of the fold (No. 12). 
Hold the hem across the end of the fore¬ 
finger of the left hand, but not too tight. Continue hemming in this manner. It is impor¬ 
tant to have all the stitches slant in the same direction and of uniform size. 


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No. 13.—Folding for Mitred Corners 



No. 11.—Cat-Stitch on Open Seam 



























DRESSMAKING, UP TO DATE 


MITRED CORNERS.—A mitred corner is the joining of two edges to form a right angle. 
Make quarter-inch turnings on the edges to be hemmed, then turn over the desired hem 
width. Open the material, turn one corner toward the centre and crease exactly where the 
lines of the hem cross, as seen at No. 13. A quarter of an inch below (or toward the point) 
fold and cut the corner on the crease last made. Arrange the remaining corners the same. 
Turn the edge of the diagonal cut in on the crease, as shown at No. 14, fold the hem down 

all around, bringing the 
mitred corners together 
and hem the sides. Hem 
the mitred corners but 
do not catch through the 
under material. 

SQUARE COR¬ 
NER.—Fold the turned 
hem down, and where 
the hems cross in the 
corner fold back and 
crease hard. Open the 
material and cut an ob¬ 
long a quarter of an inch 
from the last crease made 
(cutting toward the cor¬ 
ner) and a quarter of an inch from the crease made 
for the hem. This is shown in the upper left hand 
corner of No. 15. Fold 
the square corners down 
as seen at No. 16, hem¬ 
ming the turned over 
edge to the side hem, but through the latter only and not 
through to the right side. Finish the hems on all sides in the 
same manner if the material is square. 

When a handkerchief is to be hemstitched the corners are 
not cut away but are folded one over the other and the hem¬ 
stitching continued across. A corner may be finished with a 
plain hem in this way also. 

TO MAKE A DAMASK OR FRENCH HEM.—Make a nar¬ 
row turn on one edge of the material, then a second; in the illus¬ 
tration this turn 
is very narrow. 

Fold the hem back 
on the right side and 

overhand the edge formed. Do not try to take too 
deep a stitch. Open the hem and crease with the 
thumb. If 
the article 
i s square 
turn the op¬ 
posite side 
the same. 

Hem the 
remaining 

sides, overhanding the corners before folding back on 
the right side. The method is shown at No. 17. 

GATHERING AND STROKING OR LAYING 
GATHERS.—A gathering stitch is an uneven running 
stitch. Always begin by inserting the needle on the 
wrong side to conceal the knot. Take up two threads and pass over four. Never use a 
double thread for gathering. Gather on the right side a quarter of an inch from the edge. It is 
always better to slip the stitches along on the needle and not remove it from the material. 
When the edge is gathered remove the needle and draw the gathers up tight. Place a pin 





No. 16.—Hemming Square 
Corners 



No. 15.—Cutting Square Corners 



No. 14.—Hemming Mitred Corners 







































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DRESSMAKING, UP TO DATE 


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No. 19.—Inserting Ruffle in Hem 


— — — ✓ 


in vertically close to the last stitch and wind the thread around several times in the form of a 
figure 8, as seen at No. 18. This holds the gathers well together and facilitates the stroking. 

Use a coarser needle for stroking. Hold the work between the thumb and fingers of the 
left hand, with the thumb below the gathering thread. Put the point of the needle under the 
gathering thread and press the little plait under the thumb, drawing the needle down. Care 

must be taken not to scratch the material. Continue 
entirely across the gathers, putting the needle under 
each stitch, and holding the plait firmly with the 
thumb. Stroke the upper edge of the gathers as well. 

INSERTING RUFFLE IN HEM.—To insert this 
gathered ruffle, cut the hem open at the lower edge. 
Divide the ruffle in 
quarters, then divide 
the hem in quarters and 
mark these places with 
colored thread. Pin 
the hem and ruffle to¬ 
gether after quartering. 

Place the right side of 
the ruffle to the right 
side of the hem and join 
in a quarter of an inch 
seam with combination 
stitch. Turn the seam 
up on the hem as pic¬ 
tured at No. 19; this 
also discloses the hem 
turned back. Turn 
over one-quarter of an 
inch of the remaining 
edge of the hem and 
hem down to cover the 
sewing line. The fin¬ 
ished effect of this, showing the turned edge of the 
hem with the stitching above, is pictured at No. 20. 

Although directions are here given for hand sew¬ 
ing, machine sewing may be accomplished in the same 
manner for seams, hems, etc., as explained here for 
hand-work. 

ROLLING AND WHIPPING.—Holding the 
wrong side of the cambric toward you and beginning at the right-hand end, roll the edges 
between the thumb and forefinger of the left 
hand for about an inch. Take a needle and 
thread to correspond with the material, make 
a small knot, insert the needle at the corner of 
the roll and fasten. Hold the roll firmly with 
the right thumb and forefinger, and with the 
left hand roll one inch. Overcast with the 
thread as far as the cloth is rolled, taking care 
to take the stitch below the roll, and not 
through it. (No 21.) Continue to roll and 
whip (or overcast)across the length of material. 

WHIPPING AND SEWING ON LACE. 

—The lace may be gathered by pulling the 
thread which will usually be found at the top 
of the lace, or it may be whipped over and 
over with needle and thread. Roll an inch or 
two of the material and place the lace with 
the right side against the right side of the 
material, then whip both together (No. 22), 


No. 21.—Rolling and Whipping 


No. 20.—Finished Effect of Inserted Ruffle 


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No. 22.—Whipping and Sewing on Lace 














































8 


DRESSMAKING, UP TO DATE 







No. 23. Whipping and Gathering 


No. 24.—Notched Measure 
for Tucks 


as directed before. The lace need not be gathered unless so preferred, but, instead, may be 
whipped on plain; although it is always advisable to hold the lace at least ea>y. . 

WHIPPING AND GATHERING.—Divide the hem on the bottom of the garment into 
halves and quarters, marking each division with a cross-stitch. Divide the ruffle in the same 
manner and mark. Trim off all travellings. Now whip the edge as explained for No. 21, 

but after every inch whip¬ 
ped draw up the thread. 

(No. 23.) Place the right 
side of the ruffle to the 
right side of the hem, end 
to end, centre to centre, 
matching the cross-stitches. 

Adjust the gathers evenly 
and pin. Overhand the 
ruffle to the edge of the 
hem, taking a stitch in 
every whipping stitch of 
the ruffle. For whipping 

make the ruffle twice as full as the garment to be 
trimmed. The lower edge of the ruffle may be trimmed 
with lace whipped on, as shown at No. 22, or hemmed. 

TUCKING.—When making a tuck, it is always 

best to use 
a measure 


or gage so 
that the 
tuck will be 
the same 
width from 
beginning 
to end. The 
size of the 
gage must 
be regula¬ 
ted by the 

size of the tuck since a deep tuck requires a longer 
and broader gage than a fine tuck. The method 
of basting the tuck by the aid of the notched meas¬ 
ure is seen at No. 24. When one desires to mark 






No. 25.—Inserted Gusset 


No. 26.—Hemmed Gusset on Wrong Side 


a number of tucks where they are not indi¬ 
cated in a pattern, as, for instance, in tucking 
a straight piece of material from which to cut 
a yoke, a second notch may be cut by which 
to measure from the fold of one tuck to the 
next. This also is shown in the illustration. 

Cut the measure from a piece of card or 
stiff paper. When the tucks are one-eighth 
of an inch deep and the space between an 
eighth of an inch, the measure is cut in one- 
eighth of an inch from the top. An eighth 
of an inch below this, cut bias to meet the 
first slash. This makes a notch with one 

straight edge, and the distance from the end of the card to this straight edge will form the 
measure. Half an inch below the top make another cut and below this the bias slash. 

It is quicker and more accurate to make a measure of this sort whenever short spaces, as 
hems, tucks and the spaces between, are to be measured, than to use the tape measure, as some- 


No. 27.—Finished Gusset 
































DRESSMAKING, UP TO DATE 


9 



No. 29.—Overcast 
Buttonhole 


times the eye becomes confused at the eighth marks on the tape, and mistakes may occur that 
will prove quite serious, particularly when a number of tucks and uneven spaces are to be made. 

SETTING IN A GUSSET.—A gusset is a triangle of cloth set into a garment to enlarge 
and strengthen an opening. 

Fold diagonally a piece of muslin two inches and one-quarter square and cut it on 

the fold. Take one of the triangles and fold it down a quarter of 
an inch all around, folding straight lines first. Hold¬ 
ing it with the wrong side toward you, right angle 
down, fold the point at the bottom up to meet the 
folded bias edge. This crease is shown at No. 25. 

Fold the ends together and cut the projecting points 
at the sides, cutting straight with the grain of the goods. 

If the gusset is not at the end of a seam slash the 
material the desired depth, cutting by a thread. Make 
a narrow hem all around, tapering at the corner so it will 
be little more than a roll. 

Pin the corner of the gusset to the corner of the 
opening, right side to right side. (No. 25.) Beginning 
at, the centre, overhand to the edge of the hem as 
far as the crease. Overhand the other side the same. 

Fold the gusset over on the crease and pin at the centre, 
also at each corner. Take care that the warp and woof 
threads at each side run parallel with the warp and 
woof threads of the garment. Baste and hem all 
around, as shown at No. 26. The lower edge of the 
gusset will have to be stretched to fit. The finished 
effect is pictured at No. 27. 

BUTTONHOLES.—A buttonhole is a hole or slit 
cut in a garment to receive and hold a button. The 
edges are worked to prevent ravelling. A buttonhole 
must always be cut straight by a thread of the cloth. 

At No. 28 will be seen the several processes for working a buttonhole. 
This model is made by simply barring the edges with the thread or twist 
used for the buttonhole. Put the needle in from the wrong side at the 
lower right-hand side of the slit, which is the farthest edge from the fold of 
the material; this is shown at the lowest figure in the illustration. Carry the thread to the 
end and form a bar by taking two stitches as shown in this, and finished in the second 
figure; then carry the thread across the opposite side. 

Begin to work the buttonhole close to the corner or starting point. Insert the needle 
and, while it is pointing toward you, bring the double thread as it hangs from the eye of the 
needle around to the left (third figure) 
under the needle, draw the needle through 
the loop formed, and draw the thread up 

tight, letting the purl come exactly to the mmmmmmmmmmmmmmrnm 

edge of the slit. Skip two threads of 
material and repeat the stitch. 

When the end is reached take the 
stitches around in a curve and continue 
working on the other side. Bar the end for 
finishing; insert the needle to the wrong 
side and work several stitches over the bar 
stitches on the wrong side. The finished 
buttonhole is shown in the upper figure. 

Another method of working a button¬ 
hole is shown at No. 29. In this, the edges 
are overcast and both ends are barred. This is more generally employed when the button¬ 
hole is in the centre of a fold or box-plait, and is cut in a vertical instead of a horizontal 
position. Holding the fold edge toward you begin at the lower right-hand corner as explained 
for the previous buttonhole and bring the needle up through the material three or four threads 
from the edge of the slit, leaving a short end of the thread. 



No. 28.—Barred 
Buttonhole 


I,., .. ■ 



No. 30.—Blind Loops 






















10 


DRESSMAKING, UP TO DATE 


Skip four or five threads of the material and take a slanting or overcasting stitch, catching 
in the short, end of the thread; skip an equal space and take another stitch. At the end take 
two stitches straight across, the depth of the buttonhole, forming a bar. Pass the needle 
underneath the slit and bring it up through to the other side and overcast the same, 
as seen at the upper figure, making the straight stitches or bars across the end. 

Now work the buttonhole stitches on the first 
side. At the end turn the work around, so that 
the bar end is toward you, slip the needle under 
the bars and buttonhole them, taking one stitch 
into the cloth to hold it. Work the other end of 
the buttonhole and the second bar. Sometimes the 
bars are simply worked with an over-and-over 
stitch instead of buttonholing; this is according to 
the worker's preference. 

BLIND LOOPS.—A blind loop is used on a 
garment to take the place of an eye. Having 
marked the position of the loop opposite the hook, 
knot the thread and bring the needle up through the material. Make a bar of three stitches 
one over the other, one-quarter of an inch long. This may be made in the form of a cross- 
stitch, as shown in the first figure of No. 30. After these are laid, hold the thread down with 
the left thumb and insert the needle, eye foremost, under the bars and over the thread (second 
figure). This method of putting the eye first facilitates the work. Draw the thread up letting 

the purl come to the lower edge of the loop; fasten on the wrong 
.side. The third figure shows the finished loop. 

Sometimes the bars are laid straight across and not in the 
form of a cross-stitch as pictured; the former method being con¬ 
sidered by some as the stronger. In either event the buttonhole- 
stitch is worked in the manner described. 






k 




hole made and worked in 
button. Pierce the eye- 


No. 32.—Position of Pin on 
Button 



..... ■« 


EYELETS.—An eyelet is a 
a garment to hold a cord or 
let-hole with. a stiletto 
or bodkin. Place running 
stitches around the 
circle, hold the hole over 
the forefinger of the left 
hand and buttonhole 
the edge, covering the 
running stitches. Work 
from right to left as seen 
in the first figure at No. 

31. The second figure 
shows the finished eyelet. 

SEWING ON BUTTONS.—In sewing on buttons 
always use a coarse thread, never a double one. Make a 
knot in the thread, put the needle through from the 
right side that the knot may be on the right side 
directly under the button; bring it up and through a hole in 
the button. Draw it down in place. Place a pin across the 
button as shown at No. 32, and pass the thread over it and down 
through the opposite hole. Take several stitches across the 
pin without removing it. Turn the pin and sew across into 
the other holes. Remove the pin, draw the button away from 
the band as far as possible, wind the thread around several 
times with the thread in the needle. Pass the needle through 
to the wrong side and fasten. 

SHIRRINGS.—Shirrings are of different and varied styles, 
the more simple being the straight plain shirring, while for more 

elaborate requirements the tucked shirring and the corded shirring wall be found more effective 

Ao. 33 gives the most simple method of shirring, and one particularly easy of execution' 
It is a plain straight shirring with the top shirr turned in to form the finish. This is left 


No. 33.—Rows of Shirring 



No. 34.—Shirrings Drawn Up 











DRESSMAKING, UP TO DATE 


11 



however, tucked shirrings of this character 
will readily accommodate themselves to 
almost any shaping the pattern may 
demand, and, if need be, the thread of 
the first tuck may be considerably shorter 
than the last, if a curve is being formed. 

No. 37 shows the mode of shirring in 
cluster tucks. This style is perhaps a 
trifle more difficult to accomplish, but by 
carefully following the directions and keep¬ 
ing the tucks and spaces even, no trouble 
should be experienced with the work. 


raw edge on the under side. A good plan in marking is to make faint dots with a lead pencil 
(white pencils may also be procured for the black and dark materials), but, should the material 
be too thin to allow this, mark with blue cotton, removing the thread after the shirr thread 
has been arranged in proper place. Do not attempt to erase lead pencil marks. The thread 
or silk used should not be too fine, for there is nothing more discouraging than to find the 

thread broken at the end of a long shirring. 
Knots should be made very large, so that they 
will not pull through, thus making a hole in 
the material. Threads should be left long, 
about the length of the material. No. 34 
shows successive rows of shirring with the 
threads drawn up. 

No. 35 shows a bias pin-tuck shirring. This 
is made by taking the material perfectly 
straight and folding the corner over to form a 
perfect bias, marking the line thus acquired. 
The shirring is run through the material 
double, taking as small an amount as possible. 
This forms the tuck. 

Successive rows of tucks a trifle larger 
than the former are shown at No. 36. This 
pictures the arrangement of shirred tucks 
over the shoulder of a waist. Each row is 
evenly spaced and drawn up to an even size; 


No. 35.—Pin-Tuck Shirrings 


No. 38.—Tucked Shirrinqs Shaped to Fit 

First turn over the top to form a 
tuck as pictured. This is run straight, 
like a plain tuck, but the thread is 
left at the end for drawing and spac¬ 
ing. Make all of these very even. 
It is sometimes found necessary to 
fasten these shirrings on a band or 
stay at the back. This is partic¬ 
ularly essential when the lines of 
shirrings are shaped or curved after 
the shirrings are arranged in the desired place. Take either binding tape, if this i§ found wide 
enough, or, if not, strips of lawn cut straight; or if necessary, cut a lining to fit the required out¬ 
line and sew securely with long stitches on the wrong side and short stitches on the right 
side. This forms a solid back for the shirrings. However, when possible, this lining should 



No. 37.—Tucked Shirrings in Clusters 




12 


DRESSMAKING, UP TO DATE 


be omitted, as it invariably will show, especially if the material be quite sheer. The shirring 
may be basted on tissue paper cut to the required shaping and a row of machine-stitching 
made through material and paper at each row of shirring. The stitching will hold the 
shirrings firmly in place. The paper may afterward be easily pulled away from the back. 

When adjusting a quantity of material to a comparatively small space, as is sometimes 
fashionable at the backs of skirts, the shirrings are not accomplished by even stitches, but by 




what are called French gathers. These 
are made by taking a succession of 
small stitches through the material, 
with longer threads on top, to the follow¬ 
ing stitches. This places the stitches 
rather far apart, as seen at No. 38; 
ahvays remember that the stitches and 
spaces in the following rows must con¬ 
tinue the same size as when begun, in 
order to insure evenness. This method 
is particularly desirable for heavy cloths 
and several rows are generally made. 
In French gathers the stitches in each 
successive row must come one below 
the other to draw up properly. 

CORDING. — Rows 
of plain cording are made 
by folding over the ma¬ 
terial at the desired point, 
putting the cord in po- 


No. 39.—Inserted Cord 


No. 40.—Cording for Facing 


sition and sewing along with fine running stitches as pictured at No. 39. As many rows as. 
desired may be run in at regular intervals, whether for the bottom of a skirt or other cording. 

No. 40 shows a cording inserted in a bias strip with one side of the material narrower than 
the other. This is made exactly as explained for the previous cording and is used for an edge 

which needs to be faced. After 
joining the cording to the garment 
the broad edge is turned over one- 
quarter of an inch and hemmed 
down. 

For shirred cording a cord of 
the desired size is selected and this 
is put under the material at the line 
of marking; the stitching is run 
along the same as for a tucked 
shirr, the cord filling in the tuck. 
The desired number should all be 
run in, then the threads drawn up 
together, care being exercised that 
the cord is drawn evenly at the same time. This detail is shown at No. 41. The method 
of securing the curved shirrs on a bodice is accomplished in the same manner and adjusted 
by fastening them to an underlining. The material is held rather firmly over the cord, but 
not so tight as to draw. 



No. 41.—Shirred Cording 
























Important Points and Aids in 

Dressmaking 



I T IS imperative when expecting to accomplish good work in dressmaking to begin by sup¬ 
plying oneself with the proper and necessary tools. Very fine sewing can never be accom¬ 
plished with coarse needles and thread, nor can material be properly cut without a pair 
of sharp scissors; in all other instances it is equally expedient to provide the proper 
requisites. Basting threads, several sizes of needles, shears and a pair of small scissors for rip¬ 
ping are all quite important and are never neglected where good work would be accomplished. 

Provide a tracing-wheel, or tailors’ chalk and colored thread, for tracing on materials where 
it is not wise to mark with the 
wheel or on which the marks would 
not show—woolens, for instance. 

On taffeta and other materials 
which hold the marks use as few 
pins as possible. 

The table or surface upon which 
the material is laid preparatory to 
cutting is another matter of im¬ 
portance. It should be smooth and 
hard and of sufficient dimensions to 
permit the largest pattern to be 
fully spread out upon it. There are 
exceptional cases to which this sug¬ 
gestion may not apply; as, for 
instance, where a kilted skirt is to 
be cut by a pattern, or when there 
is no long surface convenient, in 
which case the worker must exercise 
her ingenuity and judgment and do 
the best she can with those sur¬ 
faces which are at hand. In the 
ordinary household the dining-table, 
usually of the extension style, will 
provide all the surface necessary for 
cutting out. 

When the material is smoothly 
spread out upon the cutting surface, 
ready for the patterns or linings to 
be laid upon it, it should be held 
smoothly in place by weights, the 
worker being careful not to draw the 
goods. The pattern should also be 
properly secured to the material. 

When checked, plaid or figured goods are cut, the corresponding checks •plaids or figures 
must be evenly laid together, then pinned, thrusting only the points through the fabric. 

Cut all edges evenly, and for this a pair of sharp shears are necessary; those of medium 
size are best. If an edge is cut unevenly, the eye is apt to be involuntarily influenced by this 
unevenness when basting or sewing the seam. This is, to a certain extent, the influence of a 
good beginning, which should never in any way be slighted by anyone fully cognizant of the 
best practical methods for all parts of dressmaking, such as we intend to describe in this book. 

In cutting garments that are to have linings, it is generally well to cut, baste and try on the 
lining before the outside is cut; then, if any mistake occurs, it can be inexpensively rectified; 


No. 1.—Pattern Marked at Different Outline Perforations 


13 







14 


DRESSMAKING, UP TO DATE 


and, besides, should much alteration be necessary, it will be an economy of the outside fabric 
to make the change needed in the lining first. 

A proper lining is necessary to the perfect fit of a close-fitting waist, although, if it is not 
properly cut and added, even the best lining will not attain the result desired. Percalines, 
soft silesias, sateens and the substitutes for silk are the approved fabrics for both waist and skirt 
linings when silk is not to be used. 

In laying out the pattern on the lining, arrange so that two thicknesses may be cut at one 
time; if percaline, silesia or other double-fold material is used it may be laid out folded as when 
bought; but if silk, which is much narrower, is employed, double it at one-half the length, 
bringing the two cut ends together. Lay the lining out on a large table and dispose the several 

pieces of the pattern on it to the best advan¬ 
tage. Cut out through the two thicknesses, 
carefully making all notches. 

At the large perforations, which indicate 
the darts and the under-arm and shoulder 
seams, mark with a tracing-wheel through the 
centre of each perforation a continuous line, 
which will be the sewing line. Remember 
that unless specified in the label an allowance 
of three-eighths of an inch is made for all seams 
not marked by perforations. 

To cut any of the different lengths marked 
on the pattern, pin the paper pattern together 
at all the seams as if it were cloth. Lay the 
pinned pattern flat on a table and note the 
continuous line at each row of perforations 
which indicates the several lengths, then 
mark with a pencil through all these lengths 
or simply the length selected. Having decided 
upon the length, when laying out the pattern 
on the lining, trace with the wheel through 
the mark that outlines that length, and cut 
three-eighths of an inch below it. Although a 
waist is used for illustration at No. 1, the 
instruction applies equally well to skirts. 
This plan should always be followed in cutting 
from a pattern that provides more than one 
length, as frequently quite a quantity of 
material may be saved. 

It is a good plan, too, to lay a ruler or 
yardstick on each piece of the pattern and 
draw a continuous line through the small 
perforations, which show how the pattern is 
to lie on the grain of the goods. The pencil 
mark can be seen more readily than the per¬ 
forations, and will prevent mistakes. 

After the lining has been fitted but not yet 
. . , stitched, a good plan is to rip one side, separate 

t le pieces on which any alteiations have been made.and lay these pieces on the original pattern; 
make the same alterations in the pattern and keep this corrected pattern for future occasions. 
In using the pattern of another gown the new waist or skirt lining may be marked by the cor¬ 
rected pattern, and it will save much time and trouble. 



2.—Padded Lining on Waist Form 


A PADDED BUST FORM 

One great difficulty in making one’s own gowns is that as the work progresses it becomes 
necessary to try on again and again, and it is not always easy to see whether the desired effect 
has been reached. One of the most important aids in dressmaking—in fact, the most impor- 







DRESSMAKING, UP TO DATE 


15 


tant when one is making her own waists—is the waist or bust form. It is almost impossible to 
fit oneself without it and those who have one realize its very great value. One which is the 
exact proportions of one’s figure, so that a waist may be correctly fitted over it, is to be had 
at very slight expense if the worker will follow the directions given here. A form covered with 
a fitted lining and padded out to correct proportions is shown at No. 2. 

Ordinary bust forms, made of papier mache covered with stockinet, etc., may be pur¬ 
chased at any department store. It is advisable to get a form one or two sizes smaller than 
the bust measure to be used. 

Cut from heavy unbleached muslin or from cotton duck the lining parts of a waist pattern 
and transfer all the marks, notches and large perforations that the pattern contains. Cut the 
collar from two thicknesses of canvas and stitch them together 
with a wave line of stitching. Observe the small perforations 
which show how the pieces should lie on the grain of the goods. 

Join the seams according to the notches and observe all the 
directions contained in the label of the pattern. The closing should 
be in the front in making the form cover, as the worker will find it 
easier to manage it fitting herself. Fold a line from one notch on the 
front to the other, keeping the hem the same width, and run a colored 
basting along the edge of this fold. The basting or tracing will 
indicate the meeting line of the waist if it is to close without a 
lap; this will be indicated on the label of the pattern. On some 
waist linings a hem is not provided, but the fronts are to be faced. 

Three-eighths of an inch seam allowance is made at the front (or 
back) closing in this case. 

Try on the waist, pin the two traced edges together closely; 
be sure to have the two fronts even at the top and bottom and 
fit the waist carefully. If it is possible to have assistance in doing 
this, it will save trouble; but even without it, patience will enable one 
to make the lining a perfect fit. Draw the lining up w r ell on the 
shoulders, but not enough to pull it up from the waist-line. Many 
figures depart from the normal measurement in some particular, 
hence a certain amount of fitting is usually necessary; but if very 
much alteration is required, alter the pattern first as directed in 
the chapter “The Correct Method of Altering Patterns.” After 
basting the alterations at the seams, try the lining on again. 

Place a tape around the waist at the natural waist-line, mark 
on the lining at the lower edge of the tape with a pencil or chalk, 
and after taking off the lining, trace through this mark with a 
colored thread. Stitch, bone and press the seams as if for a lining; 
but it is not necessary to bind or overcast them. Fold under and 
stitch the front edges. Run a strong basting around the armholes 
and the neck to prevent them from stretching out of shape. Baste 
the canvas collar to the neck. 

Place the lining on the waist form, draw it well on and pin the 
fronts together for two or three inches up from the bottom and from 
the neck down one or two inches, just enough to hold it well on the figure but open at the bust¬ 
line; with tissue-paper, rags or wadding pad in between the form and the lining wherever 
necessary to make the lining fit smoothly and evenly and look just as it should when worn. As 
the padding progresses sew the two edges of the front together with an overhand stitch and 
continue to pad till the figure is quite firm and will not dent in handling. Especial atten¬ 
tion is needed at the shoulders and neck. Some care will be needed for this work, but it is 
worth the trouble because it will simplify all the work in the future and save many fittings. 
It is for this reason that this method is employed in many dressmaking establishments, as the 
extra labor required is more than made up for by the greater amount of work that can 
be done in the workroom, avoiding the necessity of subjecting the customer to long and 
tiresome fittings. Shirt-waists can be basted, fitted on the form and finished without once 
trying on, since every fault can be seen and corrected. 

Certain patterns are issued having extra length below the waist-line and any of these are 
desirable patterns for the form cover, on account of length. The patterns are quite long enough 
to reach to the bottom of the waist form, but for ordinary waist linings four shorter lengths 



No. 3.—Padded Sleeve 
Lining 







16 


DRESSMAKING, UP TO DATE 


are indicated by perforations, and the waist may terminate at the waist-line, in dip length, 
in a point at front and back or in short round length. 

A sleeve is not used in these form covers, but sometimes the sleeve lining is made and 
fitted quite tight, then padded out to represent the arm in order to try sleeves on it, but the 
sleeve is not sewed into the armhole, as it would be in the way. This padded arm figure is shown 
at No. 3. In draping fancy sleeves, arranging lace or insertion, and, in fact, trimming sleeves 
generally, the sleeve form will be found of great value. 


SPONGING MATERIAL 



No. 4.—Matching the Design in Figured 
Silk 


Upon purchasing the material inquire if it has been sponged; if not, this must be attended 
to before cutting, or every spot of water will leave a disfiguring mark, and if caught in a shower 
the dress will be not only all spotted, but the skirt may shrink one or more inches, causing 

the lower edge to turn up, exposing the velveteen or facing. 

In the stores of large cities sponging will be done at 
a slight extra cost per yard, and as it takes some time 
and necessitates great care we advise those who can to 
leave the cloth with the merchant for shrinking. For 
those who reside in small towns and cannot have the work 
done for them, or for those who prefer doing it 
themselves, the following directions, if carried out, will 
accomplish excellent results: 

The articles used in sponging goods are a large-sized 
table that will not be impaired by water, and a spong- 
ing-sheet, which may be a strip of heavy unbleached 
muslin or drilling one yard wide and one or two yards long. 
Clip the selvages before sponging light-weight goods, but 
in heavy cloths and cloakings they are best torn off. 

Place a large-sized ironing blanket very smoothly upon a table. It is imperative that 
there should be no uneven places or humps, as these cause a gloss on the material when the 
iron is passed over them. Lay the goods, if single fold, right side down upon the blanket and 
cover with a wet sponge-cloth well wrung out; pass the iron over this several times, steaming 
well. Remove the cloth and press the material almost dry. Shrink only a small portion at a 
time, moving the material on the ironing blanket until 
the full length has been sponged and pressed. Allow 
double-width materials to remain folded with the right 
side turned in. If the material is very heavy and the 
steaming does not seem to go through the second fold, 
the process may be repeated on the other side. 

It is not advisable, however, to sponge some of the 
thinner fancy weaves of woollen goods as the steam 
makes them shrivel up. When doubtful, experiment 
with a small piece of the material, and if it is found that 
water may not be used, press it well with a moderately 
warm—not hot—iron before cutting. One should always 
bear in mind the fact that it is quite as important that 
washable materials such as linen, pique, duck and other 
linen and cotton fabrics be shrunk and pressed before 

cutting as cloth and woollens, for after these are laundered they frequently shrink considerably. 

Plain white or a solid color that may spot if sprinkled should be wet thoroughly by dipping 
in water and hanging up to dry. For colored fabrics a handful of salt or enough vinegar to 
make the vatci slightly acid to the taste may be added. Care is necessary in pressing material 
after it has been dampened not to stretch or draw either side, but keep the grain of the ma¬ 
terial straight in both the length and the width. Canvas or haircloth used for interlining 
should always be shrunk before applying to the garment. 

Colored wash fabrics may be sprinkled by dipping a clean whisk broom in water then 
shaking, and rolling its entire length. If figured, it will be wise to lay a plain white material 
over the goods when rolling; this will prevent the cloth from touching and perhaps marking 



No. 5.—Slip-Stitching the Breadths 
Together 




DRESSMAKING, UP TO DATE 


17 


THE NAP OF DIFFERENT FABRICS 


In all woollen cloths having a smooth, close nap (or pile) the latter should invariably 
run toward the bottom of the garment; and this general result is obtained if the cutting line 
of perforations in the patterns and the directions for their use are properly observed. In 
waists and skirts that are cut bias of the goods the lines and directions are also so arranged 

that the proper result will certainly follow their observance. 

When a garment is made of velvet or plush, the pile 
should run upward just as the pile of the fur does in a gar¬ 
ment of seal-skin. When in these fabrics the pile runs upward 
its tendency is to fall outward, thus bringing out and en¬ 
hancing its depth of color. When it runs downward, how¬ 
ever, it is more liable to flatten, just as fur will when stroked, 
so that its richness and intensity of color are rendered less ap¬ 
parent and, therefore, less effective. 

Great care should be taken to have the nap or pile of 
adjoining sections run in the same direction; otherwise, by 
different reflections of light caused by the varying direc¬ 
tions of the nap, a garment may appear to be made of two 
shades of goods 


MATCHING FIGURES AND PLAIDS 

The effort to match figured, striped, checked or plaided 
goods in cutting and fitting a garment is often attended 
by very unsatisfactory results at the hands of the amateur, 
and not infrequently of the professional; yet it is a com¬ 
paratively easy matter, especially if a few simple points, 
such as are here given, are borne well in mind. 

Figures and flowers must perforce be perfectly matched, 
and unless one line of flowers is up and the next down, as 
occurs occasionally, one position will have to be selected for 
the top, and this generally with the stems of the flowers in 
a downward direction. When cutting a garment where sev¬ 
eral breadths of silk must be joined (a circular skirt, for 
instance), it is important that the pattern or figures on the 
material should be matched, and often this cannot be done 
when the breadths are simply joined at the selvages. Cut 
the front breadth first by folding the silk lengthwise through 
the centre (if the circular skirt has no seam at the front) 
and laying the front edge of the pattern even with the fold. 
If there is a decided figure in the silk, fold this front breadth 
so the figures may balance and not make the skirt look one-sided when it is worn. Lay the 
paper pattern out on a table; lay the front breadth on it and match the figures of the silk at 
the ed^e of the second breadth to those at or near the edge of the first. It will sometimes 
be necessary to lap the second breadth some little way over the first, as shown at No. 4 m 
order to find the corresponding figures. Turn under the edge of the second breadth and pin 
it to the first. The breadth may then be cut according to the paper pattern. Proceed in the 
same way to join the breadths for both sides of the skirt. Slip-stitch the breadths together 
from the outside, by slipping the needle along inside the fold edge of the applied breadth and 
then taking a stitch in the under breadth, as seen at No. 5. When the skirt is turned wrong 
side out it will be found that the slip-stitching from the right side forms the basting of the seam 
‘ In purchasing plaid, striped or figured goods, an extra quantity will always be required 
beyond that needed for a gown of the same design, but of plain material. With very few 
exceptions ordinary plaids have no up and down, and unless finished with a nap the position foi 



No. 6.—Bark and Side-Back 
Matched 



















18 


DRESSMAKING, UP TO DATE 


the top is at the option of the worker; usually, however, plaids are arranged that the darkest 
strips run across the bottom with the lighter tones up, as the shading in this direction is better. 

If there is a nap, always have this run down; that is, in such a manner that the cloth 
will run smooth toward the bottom of the garment. With stripes the lines are frequently 
shaded, or they may have a right and left side, particularly if the stripe is composed of a 
double or treble line. 

It must aways be borne in mind throughout the cutting that all portions of the pattern 
or lining must be placed with the upper part in the direction selected for the top of the material. 
Before cutting, study the plaid well and do not be in too great a hurry to use the scissors. 

The most satisfactory results are obtained by folding the material and pinning through 
both thicknesses as for a seam, then turning over on the right side and noting the effect; in this 
way it may be easily ascertained which strip, plaid or figure it will be best to use for the centres of 
the front and back respectively. Be careful in replacing goods not to lose the original position. 

In cutting the skirt for a plaid costume 
place the chosen plaid exactly in the centre 
of the front gore, or if the skirt is circular, 
directly down the centre of the front. 

After the front is cut, the uncut material 
is laid on the table and the cut front 
placed near the edge, the crosswise as well 
as the lengthwise stripes matching exactly. 

Place the pattern of the side gore on 
the material, matching the front, and if the 
position is correct, cut; otherwise move the 
front gore to the next block or plaid on the 
material. This may necessitate some waste, 
but there is no alternative. Frequently in 
plaid or figured materials the pattern will 
have to be moved half a yard or more to 
a corresponding figure or flower u efore the 
correct position will be found. Cut each 
gore after the manner directed and baste 
and stitch carefully. 

In cutting a skirt bias the same rules 
must be observed and each stripe matched 
exactly. When a skirt is cut with a seam 
down the centre of the front, whether of 
stripe or plaid, cut the front on the bias 
directed on the particular label, instead of 
a lengthwise fold, as usual. Place the cut 
half on the material with every block and 
line matching, and cut the corresponding 
half from this. 

With the present style of stretching the 
back of the draped waist little difficulty 
is experienced in the making. Having 
chosen the stripe which is most suitable for the centre of the back, select also for the cross¬ 
wise stripe a position which will give the best contour to the figure. For the front, arrange 
the plaid so that when the waist is closed the centre will form a succession of perfect blocks. 
Other ideas may be considered for the front closing; this is simply a matter of choice, since 
most of the draped waists have a vest or fancy front trimming. In shirt-waists, however, 
the lines across the front must match, and, in any event, the crosswise plaids of the front 
must be on a line with those of the back, so that when the under-arm seam is joined the 
crosswise stripe of both will match perfectly. 

In making a waist or bodice which is not stretched, but has each seam stitched in with 
the lining, or the lining added later, as explained in the chapter “The Tailor-Made Gown,” 
greater care must be exercised, as more difficulties are likely to be encountered in consequence 
of the curves and the number and shape of the seams. 

. Having selected the plaid for the centre of the back, lay the pattern on the material 
with the line, of perforations in a position as directed on the label; this will give a very 







































DRESSMAKING, UP TO DATE 


19 


effective back, as may be seen at No. 6, which also shows the side-back joined to the back. 

The side-back is cut by placing the back on the uncut material in such a position 
that all the plaids matcn, both the lengthwise and crosswise stripes being in exactly the 
same position directly underneath. By this is not meant that the back is to be placed as far 
in or out on the material as one pleases, but to be disposed so that the material will cut as 
economically as possible For this reason the back must be placed only as far away from 
the cut-out space as is consistent with good cutting, allowing for seams and perfect matching. 

In a plaid of the design shown it would be impossible to place the pattern of the side-back 
nearer the cut edge, as the blocks would not match. In a plaid of a different character it might 
be possible to save at least a seam or, perhaps, move it nearer the top and save-a little there 
but these are problems which must be worked up by the cutter, using her judg nent 
accord ng to the different designs and patterns used. 

No. 7 indicates the space from which the back has been cut out, with the cut back laid 

on the material after it has been shifted 
around and the correct position found for 
the side-back. 

As will be observed by the faint out¬ 
line, the back is not placed entirely beyond 
the cut-out space, but only as far as is 
essential to cut a perfect side-back, the 
pattern of which is placed in position on 
the material with the dotted lines show¬ 
ing the back of this form under the mate¬ 
rial back. Accuracy in this is gained 
chiefly by experience. No. 8 shows ex¬ 
actly how the material looks after the 
back and side-back are both cut and the 
least possible quantity of material wasted. 

With patience matching is easily done, 
and the trials necessitated by this appar¬ 
ently bewildering work are repaid by the 
workmanlike finish. 


STITCHING, PRESSING AND 
FINISHING SEAMS 

Bastings should be just inside or out¬ 
side the line on which the stitching is to be 
made, thus avoiding the possibility of catch¬ 
ing the bastings in with the stitching. If, 
however, the bastings have been put in 
along the centre of the perforations, make 
the stitching just a trifle outside the bast¬ 
ings, bearing in mind that the sewing of the seams has a tightening tendency. In sewing 
side-back seams always have the back next the “feed” of the machine and the side-back 
next the “presser-foot,” and hold the parts well up at each end of the “ presser-foot ”; 
otherwise the side-back seam is liable to pucker or full when being sewed. In making 
seams in which one portion is fulled on to another, place the full poition next the feed 
or underneath, because if it is placed next the “presser-foot, the latter is liable to shove 
the fulness out of place and into wrinkles. All outside stitching should be carefully 

and evenly stitched. It is advisable to put a strip of thin crinoline, taffeta oi pc k aline 

between the folds, as it improves the stitching. At No. 9 is shown the effect of rows of 

stitching on the bottom of a skirt. 

Careful pressing is quite as important as any other part of dressmaking, perhaps more, for 
darts and seams that have been properly sewed are often stretched and pulled out of 
shape by careless pressing. Special boards may be bought from dressmakers supply houses, 
but home-made substitutes answer the purpose quite as well. 





























20 


dressmaking, up to date 



No. 9.—Rows of Stitching on 
Skirt 


Skirts, coats and long garments require a large, flat surface for pressing and either the 
family ironing board or a table will be found best. For sleeves, a small sleeve board, made 
of hard wood smoothly planed is generally used. It is usually made from two to three feet 
long, and tapering from five to six inches wide at one end to three inches wide at the other, and 
both ends, as well as all edges, are rounded. An ordinary rolling-pin, covered with a piece 
of old blanket sewed firmly in place and then with smooth cotton cloth, makes a satisfactory 
sleeve board and also answers well for pressing other seams. 

To obtain the best result in opening seams, the board should be covered with one thickness 
of firm, smooth woollen cloth which in character is similar to broadcloth. The texture of a 
pressing cloth upon which goods are to be sponged or pressed should be fine and soft and 
several thicknesses are advisable—as a coarse fabric will leave the imprint of its texture and 

weave. A hard surface must be provided for seams that 
require thorough pressing to keep them permanently open. A 
large cushion, tightly padded, is very useful in pressing darts or 
other curved seams. 

A narrow iron is considered better for pressing seams than 
a wide one. In the average household, however, the ordinary 
flat-iron will be mostly used. While it s a very general custom 
to press a seam open with the point of the pressing iron, a 
far better result is obtained by reversing the iron and using 
the square end, as the edges of the seam are thus stretched 
or spread out evenly at the same time that the seam is pressed. 

In pressing the seams of cloth garments, the seam edges 
should be dampened with a wet sponge or cloth; but soft fabrics, 
such as cashmeres and suitings, and also silks, do not require 
dampening. Silk should not be pressed at all in the ordinary 
way of pressing, as the heat of the iron takes out the dressing 
and leaves the silk soft and old looking. When it is necessary to 
press seams in silk, this should be done the same as for velvet; 
do not press on a table or board, but hold one end of the seam in the left hand and let 
someone else hold the other end; then with the right hand run the iron along the seam, 
pressing it open or closed, as desired; in this way the iron touches 
only the seam. If no assistant is at hand, lay the iron on its side and 
use both hands to draw the seam across the edge of the iron. The 
hem of a silk skirt may be pressed in the usual way on the table or 
board, but do not have the iron hot, and press only the hem. 

The finish most commonly employed for seams is overcasting, 
generally working from left to right; but unless one is quite expert, 
the ravellings and short threads will escape as the stitches are made, 
producing a very undesirable roughness. Dressmakers usually finish 
each edge of every seam with a narrow ribbon binding, placing the 
binding over the edge in such a manner that a single row of “running” 
will sew it at both* edges at the £ame time. 

In heavy garments, such as jackets and cloaks, where the seams 
are to be bound with satin, silk or farmer satin, the binding is some¬ 
times put on before the seam is stitched and is cut bias, wide enough 
to extend just a trifle beyond the basting of the seam. It is applied 
to the right side, turned over the edge, and the seam stitched through 
the binding as well as the fabric. Seams finished in this way are not 

pressed, of course, until the binding has been added and sewed in. A safer way is to baste the 
binding on the right side after the seams are pressed; turn over on the seam edge and fell 
down on the under side. (No. 10.) Arrange this, so that one row of machine-stitching will 
catch through upper and under side. Another style of finish consists in folding the edges of 
the lining and outside fabric at each side of every seam, and then running or “overhanding” 
them together. It is well, as far as possible, to press all seams before binding them, since 
their edges will then be in shape to receive the proper amount of the binding material. 
Seams in waists should be notched and the binding follow the curves and points. 

For armholes, make the ordinary three-eighths-inch seam, but at the same time sew in a 
narrow bias binding-strip of the goods. When the seam is made, trim it down closely, turn the 
binding over it, turn under the loose edge of the strip and fell it down along the seam stitching. 



No. 10.—Bias Binding on 
Seam 




Correct Method of Altering 

Patterns 

A KNOWLEDGE of the proportionate measurements used in cutting Butterick patterns 
is very necessary for the dressmaker, whether professional or amateur. If one makes 
only her own clothes she decides upon the size that fits her, and always calls for that; 
but when making for others whose measurements vary, it is of great service to know 
just what are the corresponding waist, hip and bust measures in any particular pattern. A 
table of corresponding measures is printed in the Catalogue of Metropolitan Fashions, and 
is usually to be found in the back pages of The Delineator. Tables of the proportionate 
measurements by which Butterick patterns are cut for girls and boys also are found in these 

places. The table of ladies’ measures is reproduced on 
this page, and reference to it will assist materially in de¬ 
ciding what pattern may come nearest to the figure to be 
fitted. It should be borne in mind always that the num¬ 
ber designated as “bust measure’’ is not taken at the 
fullest part of the figure, but close up under the arms and 
across the chest, as seen at No. 1. Remember, too, that 
the bust measure 
printed at the top 
of the label is that 
measure taken by 
the tape and that 
the pattern is al¬ 
ways larger, vary¬ 
ing from two 
inches in a tight- 

fitting waist lining to six or eight inches for a loose 
blouse or waist. 

Many of our patrons have learned that Butterick 
patterns are so accurately adjusted that it is unneces¬ 
sary to change them in order to secure a perfect fit; at the 
same time ladies whose figures vary from the average 
standards in waist lengths, sleeve lengths, bust size, 
waist size, or in any other way, can, with full con¬ 
fidence, change the patterns to suit their individual 
peculiarities by following the instructions given. 

It is easy to lengthen or shorten a waist or sleeve 
without in any way detracting from the symmetry of 
the original lines, if the work is done at the right time 
and in the proper manner. Nevertheless, ladies some¬ 
times work a long time endeavoring to fit a bodice 
cut the normal length to a long-waisted person, and 
they are not quite satisfied with’ the effect when com¬ 
pleted, because the lines of the seams and the propor¬ 
tionate length of the bodice are not just what they- 
were designed to be, a very slight change sometimes 
destroying the effect of the whole garment. Fitting a waist pattern cut the average length 
to a short-waisted person is also sometimes trying to the fitter, as she cannot make all the 
seams run just as they were intended to do. The dressmaker may easily obviate these little 
trials by carefully studying the illustrations here presented and following the methods and 
principles elaborated in the description accompanying them. 

A very necessary point to bear in mind when ordering a waist pattern is that the required 
size be determined by correct measurement. The bust-line is variable. When the low-bust 

21 



No. 1.—Position for Taking Bust Measure 


TABLE 

OF 

PRO PORTIONATE 

BUST, 

WAIST 

AND HIP MEASURE- 


MENTS IN INCHES. 


BUST 


WAIST 

HIP 

30 ... . 


. ... 20. 

. .37 

32.... 


_22. 

. .39 

34.... 


_24. 

. .41 

36.... 


.... 26. 

• .43H 

38... . 


_28. 

. .46 

40... . 


_30. 

. A9H 

42.... 


_32. 

■ 52 Yt 

44... . 


_34. 

. .55 Yt 

46... . 


_36. 

. .58^ 

48... . 


....38. 
























22 


DRESSMAKING, UP TO DATE 



corset was worn, the line of greatest bust fulness was only about four inches above the natural 
waist-line; a high-bust corset brings that line from two to four inches higher. These facts 
readily show that the measurement over the bust fulness is not sufficiently exact to use as a 
standard on which to base the proportionate measures of the other parts—the waist, neck, 
armhole, etc. A measurement less liable to variation—therefore, a surer guarantee of cor¬ 
rectness—is the measure that is taken around the chest as shown at No. 1. The tape is 
brought across the back and around close up under the arms, slanting upward at the front 
and meeting well up on the chest. The measure is taken closely, but should not be drawn 

tight, and it is this number of inches that should 
be given in ordering a waist pattern. 

No. 2 shows how the tape measure should 
cross the back, well up on the shoulder blades, 
when this measure is taken. The reason for 
taking the measure over this portion of the figure 
rather than at the fullest point of the bust 
is this: 

The measurement around the fullest line 
of the bust will be several inches larger than 
the measure taken as shown, and it will be seen 
that if a waist pattern is ordered by the size of 
the bust-line measurement, when the pattern 
designers and makers base their cutting and 
proportionment on the higher line, the pattern 


will prove too large. When the proper chest 
measurement is given, the pattern will be 
found large enough at the bust-line for the 
correctly proportioned figure. 

The exaggerated waist-line “dip” is sel¬ 
dom seen now, but it should never be con¬ 
sidered in taking the waist measure. This 
should always be taken as shown at No. 3, 
and the tape should be drawn quite snug. 

The hip measure should be taken as seen at 
No. 4, holding the tape evenly around the 
figure at about five inches below the waist¬ 
line. It is not necessary to take the sleeve 
measure unless one is ordering a separate 
sleeve pattern; in that case it is taken, as 
shown at No. 5, around the fullest part of the 
arm, about one inch below the armhole. If the measures are not taken in the manner illus¬ 
trated, which corresponds with the measurements employed in making the patterns, it is 
quite evident that one cannot expect the garment to fit. The point to be emphasized is that 
the number designated on the pattern label as “bust measure” is not taken at the fullest 
pait of the figure, but close up under the arms and across the chest, as seen at No. 1. 


No. 3.—Taking the Waist Measure 


No. 2.—Position at Back. for .Bust Measure 


DRESSMAKING, UP TO DATE 


23 


ADAPTING PATTERNS TO TALL AND SHORT FIGURES 



In the matter of selecting a model or arranging a pattern to fit a very short or an un¬ 
usually tall person, a thorough knowledge of the figure is the first requirement; just what 
proportion the different measurements bear to each other, and whether one is long or 
short waisted in proportion to the skirt length. 

Before cutting the material the figure should 
be measured from the back of the neck to the 
waist-line and from the under-arm to the 
waist-line. Measure the waist and take the hip 
measure five inches below the v r aist-line. Meas¬ 
ure the length of the skirt in the centre front 
from the natural waist-line to the floor. If the 
dip waist-line is liked, that must be arranged 
after the skirt is fitted; it should be cut and 
have its first fitting with the natural waist-line. 

Make a note of all the measures as they are 
taken, then compare with the corresponding 
measures on the pattern. 

The back of the waist lining may be 
shortened in the upper or the lower part or in 


No 4. —Taking the Hip Measure 


both. Some figures are long-waisted from the under¬ 
arm to the waist-line, but short from the middle of 
the back to the neck. Draw a pencil line through 
the small perforations, and at right angles to this 
line draw another -three-eighths of an inch (a 
seam’s width) below the lowest curve of the arm¬ 
holes. This divides the back into upper and lower 
portions. If the lower part is too long (this is 
determined by the length of the under-arm meas¬ 
ure), lay a plait or tuck the necessary size across 
at right angles to the line of small perforations and 
two and one-half inches above the waist-line. If 
the back is too long in the upper portion, fold a 
plait across half way between the under-arm line 
and the back of the neck. (No. 6.) The back may be lengthened by cutting across at either 
or both of these points and separating the amount required to make it the desired length. 

No. 7 depicts the manner of shortening the front. To shorten the length below the under¬ 
arm, it is necessary to cut the dart through the centre between the perforations. The plait 
is made by measuring two and one-half inches from the waist-line upward at the seam edge of 
the dart and at the under-arm seam and folding the plait straight across between these two 


No. 5.—Position for Sleeve Measure 


DRESSMAKING, UP TO DATE 


2 4 



No. 6.—The Back Made Shorter 

ever it is divide by four and make 
the sewing line one-quarter of the 
whole amount required outside of 
the line of large perforations. 
For instance, if an inch and one- 
half more breadth is required, 
the sewing line should be made 
three-eighths of an inch—which is 
one-quarter of an inch and a half 
—beyond the large perforations. 

When double under-arm 
forms are provided in a pattern 
the extra allowance should be 
made so that it is equally divided 
and the forms increased in pro¬ 
portion, otherwise an increase 
at a single seam will spoil the 
symmetry of the waist. When 
it is necessary to make much 
allowance at the under-arm seam, 
the armhole should not be cut 
quite so large as when the seam 
may be sewed at the line of the 
large perforations. The material 
should be allowed toextendbeyond 
the armhole line of the pattern the 
same distance that has been 
allowed beyond the perforated’line 
at the under-arm seam. (No. 8.) 


No. 7.—To Shorten the Lining Front 


points. The size of the plait is determined by the 
difference between the measure from under-arm to 
waist-line of the pattern and of the figure to be 
fitted. The illustration shows also the way to lay a 
plait in the upper part of the lining front and how to 
even the perforations and seam edges after the 
plaits are folded in place. Whatever alteration is 
made in the length of the lining, a corresponding 
alteration must be made in the outside drapery 
of the waist; take out the same amounts and at 
the same places. When the bust is larger than the 
proportionate size the value of the outlet or allow¬ 
ance seams is proven, for the pattern may be 
enlarged quite three inches across the bust by 
making the sewing line of the under-arm seams 
three-quarters of an inch outside of the large per¬ 
forations. This allowance will add three-quarters 
of an inch to both the front and the back portions 
(equal to an inch and one-half at each seam), or 
three inches altogether. It is hardly likely that an 
addition so great as this will be necessary, but what- 


























DRESSMAKING, UP TO DATE 


25 


TO FIT PATTERNS TO FIGURES WITH EXTRA SMALL OR LARGE BUST 



The styles of patterns with which it is sometimes found difficult to avoid wrinkles in 
fitting garments to ladies of disproportionate busts, are those having large or moderately large 
second bust darts. The directions found in the labels of all patterns are of themselves 
sufficient—in fact, it may be said that the cases are infrequent when these suggestions will 
become necessary at all. In 
a word, they will be found 
useful chiefly where a “glove 
fit’’ at the bust is desired for a 
lady of marked irregularity of 
development at that point. It 
should also be remarked that 
the suggestions here submitted 
are not to be understood as 
affecting the adjustment of 
garments to ladies who, al¬ 
though slender or stout, are 
yet proportionately developed. 

For them no modification, 
other than such as the pat¬ 
terns may direct, is in any case 
necessary. 

No. 9 shows the pattern 
for the front lapped and ad- 


No. 8.—Altering the Armhole 



No. 9.—Decreasing the Bust Size 


justed to fit a lady whose bust is disproportion¬ 
ately small at the fullest part. This illustration 
represents an extreme case, where the bust is 
very small, although the measure taken about 
the chest is the same as for a well-proportioned 
lady. Where the bust at the fullest part is not 
so small—that is to say, but slightly undersized 
—such extreme laps are unnecessary. For such 
a figure, therefore, the fold should only be lapped 
slightly, but in the same way as shown in the 
illustration. The principle is the same in each 
instance, and the method of procedure, in the 
light of our explanation, will, we believe, be found 
so easy as to prove a great convenience. 

No. 10 shows the pattern for the front 
slashed and adjusted to fit a lady having an 
extra large bust. Our readers will understand 
that what is here meant by an “extra large 
bust” is a bust that is extra large only at the 
fullest part in the front, which is below the point 
where the bust measure is usually taken. In this 
illustration the edges of the three slashes are 
separated instead of being lapped, thus giving 
more room across the bust proper and from a 
point near the bottom of the armhole to the 
waist-line of the second bust dart. 

The modification herein suggested being, as 
explained, for a lady of extreme fulness at the 
bust, it will, of course, not be necessary to de¬ 
part so far from the standard shape for ladies 
more nearly approaching the normal proportions. 












26 


DRESSMAKING, UP TO DATE 


It makes no difference whether the front edge of the front in the pattern is straight or 
curved; satisfactory results can be secured with either style of front. The same treatment 
may be employed to increase or diminish the bust size when only one dart is employed, as in 
blouse and shirt-waist linings. 

No. 11 represents the easy curve commonly followed in terminating darts in waist patterns. 
The picture shows the effect when the goods is folded, with the corresponding dart perfora¬ 
tions together, as directed in the label of the 
pattern. The point to be emphasized here is 
that the line of the dart seam should follow the 
reversed curve toward the point, running into 
the folded edge almost in a line with the fold. 
When this curve is followed, the “pouting” 
effect, as it is called by professionals, often seen 
at the top of darts, is avoided. 

No. 12 shows the line of the dart seam run¬ 
ning straight from the third perforation from 
the point of the dart to this point. This is the 
cause of a “pouting” effect, which, as explained 
in the preceding description, is easily avoided. 
Careless seamstresses sometimes create an even 
worse effect by following the original rounding 
curve to the end of 
the dart, instead of 
changing the direc¬ 
tion of the seam to 
follow the reversed 
curve shown at 
No. 11. 

Although the 
darts in skirts are 
reversed this cau¬ 
tion should be ob¬ 
served, as the 
points should be 
finished perfectly, 
avoiding the pout¬ 
ing effect referred 
Increasing the Bust Size to inthe waist darts. 




Darts 


TO FIT PATTERNS TO ROUND-SHOULDERED 
AND STOOPING FIGURES 


The reader will appreciate the fact that to fit garments 
without wrinkling to persons who are of abnormal proportions 
is a very desirable accomplishment; but we must endeavor to 
do even more than that, for it is possible, by making a slight 
change in the run of a seam here or there, to cause a person to 
appear much less out of proportion than she really is. At the same time, however, if we 
change a pattern in the wrong direction, we might make the effect appear much greater than 
it is; thus, il we hollow the front edges of the back-and side-back too much, and narrow the 
back at the arm’s-eye edge, because the person is broad in the back and we would have her 
appear narrower, we will surely be disappointed in the result, and will, perhaps, wonder why 

t le more we try to fit the garments so as to make the defect appear less, the more notice¬ 
able that defect becomes. 

U e should not try to fit a person who is disproportionately large in any part with a garment 
cut comparatively small at a corresponding part, in the hope that it may make the person 
appear less out of natural proportion; for almost invariably the misfit will attract attention 
to the part and give even a casual observer the impression that the figure is of bad shape, when 








DRESSMAKING, UP TO DATE 


27 




in reality it is not sufficiently out of proportion to be noticed at all if fitted fairly, without 
being too tight, and without any effort to make it look very different from what it really is. 

In fitting garments we sometimes find one shoulder of the person being fitted higher than 
the other, or one shoulder-blade considerably more prominent than the other; and frequently 
the whole of one shoulder is more fully developed than the corresponding one, which occa¬ 
sionally causes doubt in the mind of the fitter regarding what she should do to make the dis¬ 
proportion appear slight as possible. In any case the 
utmost care should be exercised in placing the seams to 
the best possible advantage. Always bear in mind that 
when changes must be made to allow for disDrooortion 
several slight alterations in different places will do much 
more toward preserving the symmetrical lines of the pat¬ 
tern than can be achieved by making the entire altera¬ 
tion at any one place, even though the garment should 
fit, without wrinkling, if changed at one seam only. 

When thick goods are being made up it is sometimes 

desirable to leave the 
outside a little loose 
when fitting the 
smaller side of a per¬ 
son who is not alike 
at both sides, build¬ 
ing up a shoulder that 
is low, or filling out a 
shoulder-blade that is 
much smaller than 
the corresponding 
one, with wadding. 

Great care should be 
exercised in such 
cases not to use too 
much wadding; a safe 
guide will be to use 
only a small quantity 
in any doubtful case, 
as it is more objec¬ 
tionable to have the 
garment show that it 

is wadded than to have one side of a person appear larger 
than the other. Always thin the wadding out on the ends. 

Sometimes it is not easy altogether to remove the 
wrinkles in a hollow shoulder, but the front can generally 
be made nearly smooth by stretching the shoulder edge of 
the front and the upper part of the neck edge a trifle, 
and by holding the back quite full on the front when 
basting the shoulder seam, cutting the back from a quarter 
to a half inch wider than the front at the shoulder edge. 
Be assured that almost invariably those little wrinkles, so 
troublesome to many, are not the result of a misfit in the front, where they are seen, but are 
caused by the back shoulder being cut a little too short to cover easily the shoulder-blade. 

No. 13 represents a back and side-back gore, which have been slashed across and separated 
to fit a lady who is more or less round-shouldered and stooping. If the person to be fitted 
stoops very much, a second cut should be made nearly all the way across the back, commencing 
it at a point about one-third the distance from the neck edge to the broken line and terminating 
it near the armhole edge just below the outlet line of the perforations, separating the edges 
made by the slash more or less according as the person stoops—generally from an eighth to 
half an inch. In cutting out the side back, preserve a nice even curve all along the edge. 
The under-arm gore very seldom needs any change for disproportion such as is considered 
under this heading. 

No. 14 illustrates the same back and side back as are shown in the preceding illustrations; 


No. 13.—Slashed for Stooping Shoulders 


No. 14.— Lapped for Over-Erect Figure 



28 


DRESSMAKING, UP TO DATE 




but in this case we find the back and side back adjusted to fit a person who is comparatively 
flat at the shoulder-blades and over-erect. The edges of the back and side back made by 
slashing along the broken lines in the previous illustration are overlapped, as shown at No. 14, 
and the back is trimmed off a trifle as pictured by the line near the armhole and side-back 
seam edges. In cutting out the side back be careful to cut on a graceful, even curve when 
shaping the upper part of the back edge where the edges are lapped. 

It is impossible to state exactly how much to change the parts for the different figures, 
but the maker will meet with very little difficulty in deciding that point; an inch at the shoulder- 
seam edge at the armhole is sufficient change to cause a pattern to fit a person of extreme 
disproportion, and the change should be smaller according as the disproportion is less noticeable. 

In changing a pattern which has been correctly fitted to a person of normal proportions 
so as to make it fit a person whose shoulders are disproportionately high and square, or, in fact, 
any alterations which may be puzzling to the amateur it is always advisable to cut the pattern 
in cambric after making the alterations, 
and fit the cambric to the figure so that 
any little deficiency may be adjusted 
before the material is cut out. This 
cambric pattern should be preserved for 
future uses. 

We have used illustrations of ladies’ 
patterns, but the same alterations are 
equally appropriate for the same class of 
disproportion in all sizes or ages. 


ALTERING SLEEVES 


Before altering a sleeve pattern the 
arm should be measured from the arm 
socket to the bend of the elbow and 
thence to the wrist. These two measure¬ 
ments are necessary that the elbow of 
the sleeve may be in correct position on 
the arm, as the upper and lower arm 
may vary in proportionate length. If 
all the alterations be made at the top Nos. 15 and 16.—Sleeve Pattern Shortened Above and Below 
or the bottom of the sleeve, the elbow the Elbow 

will be drawn out of place. 


To shorten the sleeves, make the alteration first in the under-arm piece. If the arm, 
from the socket to the bend of the elbow, measures one inch less than tlie corresponding part 
of the pattern, fold a half-inch-wide tuck or plait straight across the pattern half way between 
the elbow and the top of the sleeve; make the tuck straight across and see that the line marking 
the small perforations is kept straight. Fold the tuck over flat and pin it through to the pattern. 
If it is necessary to shorten the lower arm portion, make a tuck half as wide as the amount 
to be taken out, lay it across the lower part of the sleeve pattern about three inches below 
the elbow and parallel with the wrist edge of the sleeve. The plaits across the upper sleeve 
piece should be made to correspond in size and position with those on the under piece. The 
sleeve portions with the tucks pinned in them are shown at Nos. 15 and 16. 

W hen the tucks or plaits are folded over, the perforations and the edges of the pattern 
aie made uneven, to correct this, lay the altered pattern on a large piece of paper and mark 
a new outline running across the edge of the folded part. If the arm is very full, the space 
between the elbow and the greater width at the top of the sleeve should be filled out as shown 
in black in the illustration, but if the arm is not large the surplus width may be trimmed off 
to make a symmetrical outline from the elbow to the top of the sleeve. Whatever alteration 
is made at the edge of the seam, a corresponding alteration must be made in the large perforations. 

If the sleeve needs lengthening, make the alteration at the same places by cutting across 
the pattern instead of making the plaits. Lay the pattern on another piece of paper and 
separate the pieces far enough to make the required length. Correct the outlines in the same 
way as when the sleeve is shortened. Alter the outside sleeve to correspond with the lining. 











DRESSMAKING, UP TO DATE 


29 


ALTERING SKIRTS 




In ordering a skirt pattern it is of greatest importance that one should know the hip 
measure as well as the waist measure of the figure to be fitted, and the table of measurements 
should be referred to in order to ascertain if the figure’s proportions correspond to those 
of the pattern. If they do not, it will be better to order by the hip measure, as alterations 
ma}^ be easily made at the waist when the hip measure is correct. 

To shorten a gored skirt, lay a plait across each breadth about six inches below the hip. 
The hip-line in No. 17 is traced across the pattern five inches below the waist-line or five and. 
three-eighth inches below the upper edge of the pattern, the three-eighths of an inch being 
the seam allowance at 
the waist. If the figure 
is full, the slope of the 
gore at the bias side 
should be filled out, as 
shown in the illustration, 
from the folded plait to 
the hip-curve above; but 
if the figure is slight, 
this little extension may 
be taken off. First mark 
with pencil a cutting 
line along the yardstick 
from the plait to the edge 
of the seam near the 
bottom of the skirt. 

The way of length¬ 
ening a gored skirt is 
represented at No. 18 
The hip is marked across 
in the same way as 
already described and 
about six inches below. 

Measure at the straight 
edge if the gores are cut 
with one straight edge, 
or if both sides of the 
gores are bias, measure 
along the line of perfora¬ 
tions that indicate a 
lengthwise thread of the 
goods. Cut the breadth 
straight across. 

The two pieces are then laid on a large piece of paper, the space desired to lengthen the 
skirt is measured accurately between the two pieces. They are pinned in place, the straight edges 
exactly even, and the yardstick is used to draw a line from the upper piece to a point near the 
bottom of the lower piece where it will gradually and naturally join. Continue to lengthen 
or shorten each breadth of the skirt in the same way, taking out or adding the same amount 
on every breadth. 

If the hip measure is large in proportion to the waist, the alteration of a gored skirt is 
quite simple, and can be made in fitting the skirt, after the gores are basted together, by 
making each seam a little wider from the hip toward the waist. If, however, the opposite result 
is desired, to make the waist larger, proportionately, than the hip, this must be calculated 
and planned for before the skirt is cut. We may find, for instance, a figure with 30-inch waist 
and hips that measure 44. Referring to the “table” we find that the nearest hip measure is 43^ 
inches and that the waist measure of the pattern that has this hip size is 26 inches—four inches 
less than the waist we are required to fit. The first consideration will be the number of gores 














No. 


17.—Position of the Plait 
Breadth of Skirt 


Across 


No. 18.—Breadth Cut Across and Sepa¬ 
rated to Lengthen 


















30 


DRESSMAKING, UP TO DATE 




No. 19.—Increasing Waist Size, with Extension for Prominent Abdomen 


in which the skirt is cut, as this governs the number of seams at which allowance may be pro¬ 
vided in cutting, and the amount that may be added at each seam. Another and very im¬ 
portant consideration is the shape of the figure to be fitted. The same number of inches may 
result from the measurement of figures that differ entirely in shape. The hip measure of the 
nicely rounded “model” figure, with perfectly proportioned bust and waist measures, may 

be the same as 
that of another 
that is perfectly 
flat at front and 
back with ab- 
normal de¬ 
velopment a t 
the sides only, 
or of still an¬ 
other that has 
unusual ab¬ 
dominal prom¬ 
inence with 
extreme flat¬ 
ness at the 
back. It w i 11 
be readily seen 
that the allow¬ 
ance at the 
seams must be 
so distributed 

that the greater amount will come where the figure has fullest development. Under 
ordinary circumstances, it is preferable to make no alteration on either the front or the 
back gores, but this rule cannot be followed when the figure is unusually full at the front. 

In the measurements cited, 

30 inches waist and 44 inches hip, 
it becomes necessary to add 4 
inches to the pattern at the waist¬ 
line or 2 inches at each side; No. 

19 shows how r this amount may 
be added to a seven-gored skirt. 

Pin the pattern to the material and 
be careful that the line of small 
perforations near the front edge 
of each of the side breadths lies 
over a straight lengthwise thread 
of the material. The first step in 
using a pattern should be to read 
the label carefully, then open the 
pattern and, referring to the label, 
identify each piece by its number 
or description. It will be found an 
aid to correct cutting if a ruler or yard¬ 
stick be laid on each piece of the pattern, 
its edge touching each of the small per¬ 
forations that indicate the way the pattern 
should lie on the goods, and a heavy pencil mark 
made along the line formed by the ruler. In order 
to produce the correct flare or ripple, it is im¬ 
portant in some cases that the front edge of the 
side gores be cut slightly bias, and the pencilled line 
on the pattern enables one to be certain that the 
pattern is properly placed. Measure from each end of the line to the straight edge 

or selvage of the goods and move the pattern until both ends of the line are the same number 
ot inches from the edge. 


No. 20.—Increasing Waist Size of Circular Skirt 











DRESSMAKING, UP TO DATE 


31 


The hip measure, as said before, is taken about five inches below the waist-line, 
and as three-eighths of an inch is the seam allowance at the top of the skirt, measure 
five and three-eighths from the upper edge of the pattern, and make a line across each 
breadth at this measure, following the same outline as the top edge of the breadth. Mark 
on the material with tailors’ chalk the outline of the front edge, from top to bottom, of each 
breadth. If the hips of the figure to be fitted measure 44 inches (one-half inch more than 
the pattern), the one-quarter-inch increase needed at each side can be made now by moving 
each of the two side breadths back one-eighth of an inch and pinning the pattern on the goods 
again with the chalk outline of the front edge one-eighth of an inch nearer the selvage than 
the pattern edge. No alteration need be made at the back edge of the gore. If the hip measure 
of the pattern is the correct size, this chalk outline of the full length of the front edge of the 
breadth will not be necessary, but any alteration made at the hip to make it either 
larger or smaller must be carried to the bottom of the skirt. 

When only the waist size is to be increased, lay the pattern cor¬ 
rectly on the material and allow a sufficient amount at each seam to 
make up the extra amount required. Mark with chalk the outline 
of the pattern from hip to w T aist, then measure the necessary allow¬ 
ance at the waist outside of the outline, and draw’ a chalk-line touch¬ 
ing the pattern outline at the hip and gradually widening to the 
allowed amount at the waist. An allowance of three-eighths of an 
inch at both sides of a seam, as at the top of the front gore, and of 
the first side gore, will equal three-quarters of an inch when the seam 
is made. The same allowance (three-eighths of an inch) at the waist¬ 
line of each of the next two gores will give another three-quarters of 
an inch, and one-half inch at the waist-line of the back edge of the 
second side gore will complete the required amount of two inches. 

At No. 19 may be seen, also, the allowance that should 
be made at the top of the front and side gores when 
the abdomen is prominent. In this case it is not enough 
to allow extra width only, but each gore must be ex¬ 
tended an inch or more at the top, gradually decreasing 
until it meets the edge of the second gore at its back 
edge. This extra length at the top of the skirt will prevent 
it from drawing up in the front and standing out at the 
bottom in a point, or “poking out,” as is sometimes said. 

All garments, whether dresses, petticoats or drawers, 
should have this allowance left at the top of the front 
when cutting if the figure is full at the front. Always 
mark the outline of the pattern as a guide in fitting, but 
leave enough material above it to raise the waist-line 
sufficiently to make the garment hang in a straight line 
at the front, from the fullest point of the abdomen to the 
lower edge. 

When the waist size of a circular skirt is to be 
changed, it is advisable, if much alteration is required, to 
cut one-half of the skirt in cheap lining cambirc and fit 
this before cutting the material. If the waist is to be 
made very much smaller, it may be necessary to make 

one or two small darts, but if only a small reduction is necessary, it may often be “shrunk in.” 
In this case it will not be necessary to make the cambric pattern, but When the skirt is fitted, 
mark on the waist-line where the reduction is necessary, and gather this portion, on a strong 
thread, to the required size. Dampen the material or place the wet sponge cloth over it and 
press it over a round cushion, repeating this until the cloth has shrunk in to the correct size. 
This needs to be done very carefully in order not to leave any “bubbles” in the cloth, but 
when properly done, it is most satisfactory. 

When the waist size is to be made much larger the cambric pattern will be necessary. 
Mark on it the hip-line five and three-eighth inches from the upper edge, as directed for the 
gored skirt. Pin the half-skirt to the figure and be careful to keep the front edge straight 
and exactlv at the centre. Slash the top of the skirt from the waist to the hip-line in as 
many places as necessary to make the waist the correct size and to make it hang correctly 



No. 


21.—Alteration on a Breadth 
Plaited Skirt 


of a 









32 


DRESSMAKING, UP TO DATE 



from the hips toward the lower edge. Try to make these slashes come at about the places 
the seams would be in a gored skirt. Pin a tape to the skirt at the waist-line, and be careful 
that it holds these slashes open in the proper way. Remove the skirt and pin or baste pieces 
of cambric under the V-shaped slashes; then try on the skirt again to be sure the alteration 
from the waist to hip is correct. Lay the half-skirt on a table and smooth out the upper part 
where the. alteration has been made until it lies perfectly flat. This will throw an excess of 
fulness into the lower part of the 
skirt and will form ripples or 
“flutes” that will begin at the 
lower point of each of the slashes. 

Lay these ripples in flat plaits, 
pinning them in place so the half- 
skirt will lie perfectly flat and may 
be used as a pattern by which 
the cloth skirt may be cut. A 
short ripple or circular skirt 
should fall in straight lines from 
the hips to the lower edge. If the 
figure is full over the abdomen, 
the alteration at the waist-line 
may throw too much fulness into 
the front of the skirt, and it may 
be necessary to lay another plait 
in front of the one formed by the 
first V-shaped slash. The cam¬ 
bric half-skirt fitted and ready to 
use as a pattern in cutting the 
outside is shown at No. 20. 

When a plaited skirt is too 
long, measure the same space 
down from the hip as in the gored 
skirt and fold a plait across, the 
necessary size. Equalize the seam 
edge, and it then becomes neces¬ 
sary to make a new line through 
the large perforations that show 
the lines for the plaits. Place 
one end of the yardstick at a per¬ 
foration near the hip-line and the 
other end at the corresponding 
perforation near the bottom of 
the skirt. Draw a pencil line, and 

it will be seen by referring to No. No. 22.—Back Portion of Boys’ Knickerbockers 

21 that the line passes a little in¬ 


side of the perforation just below 

where the tuck was folded. A new perforation should be made on each line where necessary. 
The breadth is then marked and traced for the side or box plaits, as the case may be. 

Boys’ Patterns. —It happens sometimes that a boy of five or six years will have the 
breast and waist measure of a nine-year-old size, though not the height. In such a case 
it is better to get a seven-year-old pattern—to divide the difference between the two extremes 
and let out the under-arm, waist and shoulder allowance. It then becomes necessary to 
shorten the coat, the sleeves and trousers. The coat and sleeves are shortened in practically 
the same way as already shown in the woman’s waist. Considerable care is needed in determin¬ 
ing just where to shorten the trousers. The length of the under-waist to which they fasten has 
a great deal to do with their length when worn. It is well to measure an old pair of trousers 
on the child, taking the measure from the waist to the crotch and thence to just below the 
knee, allowing for the extra fulness to fall over the knee if knickerbockers are to be made. 
Any alteration in length above the crotch should be made across below the allowed extension 
for the pocket opening, changing the seam edges as little as possible. In the lower leg part 
fold the plait across above the extension piece at the lower part of the leg. (No. 20 ) 






Shirt-Blouses 

T HE title “shirt-blouse” or “shirt-waist” covers a large field, embracing the perfectly 
plain waist of linen, madras or flannel with a single narrow box-plait at the front and 
modelled on the style of a man’s shirt, and advancing through varying degrees of 
elaboration to the shirred and draped models of silk, chiffon and lace. Though a 
shirt-waist needs careful fitting, not so much skill is required in the process, and it is quite 
possible to fit oneself. The neck requires care; it should not be trimmed out too much, and 
the neck-band should fit closely, though not tightly, to the neck, or the 
adjustment of a fancy collar or stock will be difficult. After the neck 
is satisfactorily fitted, the correct waist-line and the adjustment of the 
fulness at the front and centre back can be readily done by drawing a piece 
•of tape around the waist and pinning it in proper places. Shirt-waists 
are usually made unlined, though in many patterns a lining is provided, 
its use being optional and much depending upon the material of which 
the waist is made. If this is transparent or a thin, soft silk, a lining is 
advisable; but for the ordinary waists of linen, the numerous fancy 
weaves of cotton and flannel, a well-fitted corset-cover answers about the 
same purpose as a lining. In the majority of instances sleeves are made 
to accord with the design of the shirt-waist. Plain shirt-waists have 
plain sleeves finished with shirt sleeve or band cuffs. More elaborate 
waists have the sleeves either tucked or box-plaited, completed with deep 
gauntlets or cuffs of fancy design. 

In making a plain shirt-waist the seams are joined in what is known 
as a French seam. A description and detail of the way to make a French 
.seam is given in the chapter entitled “Hand Sewing Stitches.” 

The shoulder seams are never stitched until later, but are basted, and when the waist is tried 
on, any little adjustment maybe made or fulness disposed without having to rip a finished seam. 

A favorite model is a plain, seamless back with 
slight fulness at the waist. This may or may not be 
reinforced by a yoke portion, as the wearer prefers. 

The front closing is finished on the right side by 
turning under the front edge at the indicating notches 
and simulating a box-plait—by making a backward¬ 
turning plait or tuck according to the perforations in 
the pattern. Place a row of stitching three-sixteenths 
of an inch, or whatever space may be directed in the 
pattern label, from each edge of the box-plait, being 
careful to catch in the front raw edge which has pre- 
viously been turned under. Turn under the left edge 
of the front as directed on the pattern; this is usually 
an inch, and again a designated amount for a hem. 
The description may be readily understood by refer¬ 
ring to No. 1, where the wrong side of the simulated 
plait is shown. Buttonholes are worked at the centre 
of the simulated box-plait, and buttons are sewed 
to the left side. 

According to the perforations, the back is gathered at the waist-line, two or three rows 
being sufficient. These are stayed at the back with a strip of the material about half an inch 
wide and stitched all around, as shown at No. 2; or, if a tape is used to tie around the waist, 
this is adjusted in the same manner at the back, confining the fulness in place. 

The fronts are also gathered, the fulness properly disposed so that the waist sets perfectly 
smooth under the arms, and the gathers reinforced on the wrong side by a stay of the same 
width as that at the back and long enough to extend just beyond the shirrings. Some shirt¬ 
waists are not gathered at the waist-line in front, but allowed to fall free from the neck and 

33 



No. 2.—Gathers at Back of Waist 



No. 1.—Making Simu¬ 
lated Box-Plait at 
Front 











34 


DRESSMAKING, UP TO DATE 


shoulders. In this event the belt or tape is applied to the outside at the back, over the gathers, 
and tied in front each time the garment is put on, adjusting the fulness to the liking of 
the wearer. Many prefer this plan, since some trouble in the making and laundering is ob¬ 
viated, and the same shirt-waist may be adjusted differently; that is, it may be drawn down 
tight, allowed to fall slightly pouched, or to be bouffant. 

Where the waist is made very full in front or of heavy material, the front portion is fre¬ 
quently cut up to the waist-line at a point where the gathers commence, and the fulness gathered 
into a band. This band is an inch and a quarter deep when finished and is cut a trifle bias 
in front, as seen in No. 3. With this band the waist may be drawn down or allowed to pouch 
in front; it has also the added advantage that it does away completely with the quantity 
of material below the waist-line, which is so detrimental to the fit of a snugly adjusted skirt. 
The bottom of the remainder of the waist is finished with a quarter-inch hem. With wais.ts 
developed in lace, embroidery or any of the more costly textiles a circular peplum is frequently 
added; this is made of the plain material, joined to the bodice at the bottom of the waist, 
extends below and holds the shirt-waist well in position. For waists with seamless backs and 
having no fulness the peplum-extension is employed to give the proper spring below the waist-line. 

Shirt-waists opened in the front are usually made with adjustable collars, simply a 
collar band completing the neck of the garment. In making the collar band cut two sections 



like the pattern. Only one-quarter inch 
is allowed for seams on the neck-band 
and neck edges. 

Place them together with the right 
sides facing. Stitch an even one-quarter- 
inch seam off the top and ends, turn the 
band right side out and crease and baste 
the edges. Sew the band to the neck of 
the waist through the inside section, 
having the seam on the right side; turn the seams up, turn in the remaining edge of the band 
and stitch the outside, fully covering the seam; continue this stitching all around the band. 

Some of the waists show at the back of the neck-band the protection for the collar-button. 
This is formed in the following manner: 


No. 3.—Front Fulness Gathered into a Band 



No. 4.—Neck-Band showing Protection Finish 


After the layers of the band have been stitched together and turned over, face the outside 
of the band at the centre of the back, by joining a strip of the material three inches long and 
the width of the band to the lower edge; turn over, crease the seam on the right side and 
stitch the desired length for slipping in the finger; allow the remaining edge to touch the top 
of the band without turning over. Sew the band to the neck, and face the back part bv cover¬ 
ing with a strip of material the same size (three inches long), stitching on the outside at 
the bottom and allowing it to touch the top of the band. This will afterward be caught in the 
upper stitching. When stitching the lower edge of the band, discontinue at the beginning 
of the protection stitching, and begin again at an equal distance on the opposite side. Draw 
the threads through and tie. At No. 4 is shown this band finished. The finger has just 
been slipped in and the illustration shows the band distended, ready for the button. 

The buttonholes may now be worked, those in the collar band on the cross and those on the 
front box-plait preferably in a vertical position. Buttons are placed in corresponding position 
on the underlap; or if studs are to be worn, buttonholes are worked in both under and^over lap. 
These are preferably made lengthwise and are finished at the ends with bar-tacks. The fin¬ 
ished effect of both collar-band and box-plait with the positions of the buttonholes is shown 
at No. 5. 







t 


DRESSMAKING, UP TO DATE 


35 



The removable standing collar is made with a double interlining. Place the outside and 
inside of the collar together with the right sides touching, and place a layer of interlining on 
each; join by seaming at the top and ends. Turn the right side out, crease the seam, turn 
in the lower edges and stitch all around; but if the collar is to be permanent, sew the latter 
edges to the neck. If a turn-down collar is to be made, the directions are practically the 
same, but a band section is placed on each side of the collar at the lower edge, with an inter¬ 
lining on one side; join, turn the band over, crease and finish the remaining edge by stitching. 

The buttonholes are worked crosswise, one in 
the centre of the back and one at each side of 
the front. 

According to the edict of fashion the sleeve 
openings of shirt-waists vary their positions. 
Sometimes the opening may be made at the seam 


No. 5.—Adjustment of Neck-Band 


at the inside of the arm, at the back of 
the sleeve or at the underside. 

For a shirt cuff the sleeves are slashed 
at the wrist to the depth indicated, and 
an underlap is sewed to the back of the 
slash with the seam on the right side; 
crease the seam over on the lap, turn in 


No. 6.—Over and Underlap for Shirt Cuff 


the top and remaining edge and stitch down, en¬ 
tirely covering the joining. The overlap is joined 
to the front of the slash on the right side, folded 
over on the perforations and all edges turned in 
except the lower one. Adjust the overlap so as 
to conceal entirely the underlap and baste in posi¬ 
tion. When this is properly arranged, stitch all 
around the overlap, keeping the point a good shape, 
and at the finish of the opening the stitching should 
cross the lap and catch through the underlap, hold¬ 
ing the opening in correct position, as seen at No. 6. 

The cuff is usually made with an interlining 
and sewed to the sleeve after it has been gathered, 
although some of these sleeves admit of very slight 
fulness. If a stud cuff-button is to be worn, the 
cuff is sewed across the underlap. If preferred, 
>ut.tons and buttonholes may be used instead on this plain lapped cuff, as shown at No. 7. 
f for links, the edges of the cuff must simply meet. If the lower portion of the cuff is shaped 
vith a tab extension piece, that is stitched to the underlap on the sleeve. If the cuff has not 
his tab extension, it should not be joined to the underlap but should finish at the seam that 
oins the underlap to the sleeve. A button and buttonhole should be placed in the under 
L nd overlap close to the cuff. The finish for link cuff-buttons is shown at No. 8. The inter- 
ining for cuffs and collars should be of white linen or muslin. 


No. 7.—Sleeve with Lapped Cuff, Opening at 
the Underside 







36 


DRESSMAKING, UP TO DATE 


SHIRT-WAISTS WITH TUCKS 



When making tucked or plaited shirt-waists it will sometimes be found that the fronts, by 
reason of the number of tucks, are too wide to cut from one width of the goods; in this case it 
is necessary to piece the material, making the seam come where it will not show. At No. 9 
the right front of a shirt-waist is shown with this seam made, the method of piecing being 

easily seen. The pattern should be laid on the 
material, and if this is not wide enough, the best 
place to make the joining must be considered, this 
depending on the width of the goods and the style 
of shirt-waist to be cut. In some cases it may be 
made at the stitching of the last tuck, but in 
others this tuck is not stitched to the waist, but 
terminates at yoke depth; consequently the seam 
would not be hidden. In the model illustrated the 
best place proved to be at the stitching of the first 
turned-back tuck on the right front. According to 
the instructions one inch back of the indicated fold 
edge of the tuck will be the stitching line, as the 
tucks are to be one inch wide. Mark this stitching 
line with chalk and, allowing three-eighths of an 


No. 8.—Sleeve with Link-Button Cuff, Opening 
at Back 


inch beyond it toward the front edge 
for seaming, cut off the rest of the 
material. 

A piece wide enough to complete 
the front must now be joined at the 
stitching line, and when the tuck is 
made, both raw edges of this seam 
should be turned to one side and in¬ 
cluded in the tuck so that the seam is 
completely hidden on both the outside 
and the inside of the waist. It is quite 
likely that the left front may not need 
any piecing, since the manner of lapping 
the waist requires the right front to be 
much wider, the hem of the right front 
forming the first turned-back tuck on 
the left front; but if it should, the 
method is the same. The joining seam 

should always be made under the tuck and on the side toward which the tuck laps, never 
on the top. \\ hen one has a scant amount of material, as in remodelling, the joining may be 
made at the fold of the tuck, but this is not desirable if it can be avoided. A piece sufficiently 
wide to piece out the front may sometimes be cut from one side of the v r idth from V’hich the 
back is cut The left front of the waist is to be cut off according to the directions on the label, and 
hemmed. Always open the pattern, identify each piece and get a clear idea of the construction 
by reading the label carefully before beginning to cut. This care at the beginning will make 
the work easier and save mistakes and consequent waste of material. 


No. 9.—Right Front Pieced under Tuck 











DRESSMAKING, UP TO DATE 


37 


The closing of a waist of this description is best made with a narrow fly in which button¬ 
holes are worked. Usually this fly may be made from the piece that was cut off the left front. 
It should be made double, folded lengthwise through the centre, a seam turned in at each 
edge and the fold edges basted together; the fly when finished should be about one- eighth 
of an inch narrower than the hem of the right front (which in this case is one inch wide), and 
should be basted under the hem so the one row of stitching will make the hem and hold the 
fly. Buttonholes should be worked about two inches apart in the fly. To determine where to 
place the buttons, measure the space on the right 
front from the edge of the first turned-back tuck 
to the one just back of it, then measure the same 
space on the left front and place a colored thread 
at the line where the edge of the hem of the right 
front should reach. Bring the right front over to 
this line, and, using the buttonholes in the fly as a 
guide, mark on the left front the position for the 
buttons. Before sewing them on, baste a piece 
of tape to the inside of the waist at the line of the 
buttons to act as a stay-piece through which the 
stitches may be taken. The placing of the fly 
and the buttons is seen at No. 10. Reference to 
this illustration will also show the neck-band 
properly applied to the neck. It will be seen that 
the wide lap from right to left requires that the 
neck-band be longer on the right side than on 
the left, measuring from the centre back. If the 
neck-band supplied with the pattern is not the 
right size of one's neck, alteration should be 
made at the centre back, cutting the pattern 
straight across and pasting a piece of paper in the 
space to make it larger or lapping it at the centre 
to make it smaller. Any necessary alterations in 
the shirt-waist should be made at the shoulder 
and under-arm seams, never at the front. The 

buttonholes, which may be worked in the front of the neck-band to accommodate the wearing 
of a linen collar, are indicated in the illustration by black threads. Work one at the back also. 

After the neck-band has been basted to the 
neck the shirt-waist should be tried on and 
arranged at the waist-line. If the figure corre¬ 
sponds exactly to the pattern measurements 
and no alterations are found necessary, the waist 
may be gathered across according to the per¬ 
forations in the pattern, but some persons, as 
previously stated, prefer to have a tape fastened 
at the back and leave the front and sides loose, 
adjusting the fulness each time the waist is 
worn by tying or buckling the tape at the front. 

A neat and very satisfactory finish, espe¬ 
cially desirable for a stout figure, is made by 
slashing the material as shown at No. 11. 
When there is much fulness in the front of the 
waist it will be found a good plan to draw the 
sides of the waist toward the front (be careful 
not to disarrange the correct line of the seam joining the front to the back). The material 
will be slightly bias under the arm, and this should be drawn smoothly toward the front 
as far as it will reach and pinned at the waist; the tucks may then be lapped over each 
other, and the waist may be drawn down or bloused, as is most becoming. The plain 
portion that was drawn toward the front will lie under the lapped tucks and w r ill dispose of a 
great deal of fulness in somewhat the same manner as a dart. The tape should be pinned 
around, carefully following the waist-line. When the waist is taken off, baste the tape in 
place; then take either a strong twilled tape or a narrow’ strip of the material wdth the edges 



No. 10.—Fly, Buttons and Neck-Band 



No. 11.—Tucks Cut Away Below Waist 











38 


DRESSMAKING, UP TO DATE 


turned in and baste along its upper edge to the inside of the waist, exactly following the line 


tape and stitch the upper edge of the 
fulness at the back by making two 



No. 12.—Extension Joined to Waist 



No. 


13.—Covered Rings 
Back of Waist 


at 


of the tape on the outside; then remove the outside 
basted strip to the waist, after disposing of the 
rows of gathers the width of the tape apart. 

The lapped tucks at the front fo r m too much 
thickness below the waist to be left in place, so this 
must be cut across just above the lower edge of the 
strip that is stitched to the inside. The cut must 
extend only as far as necessary to open out flat the 
piece so cut off, as seen at No. 11. The uneven 
upper edge of this piece may be trimmed and 
turned in and hemmed down to the part from 
which it was cut, providing sufficient length to hold 
the waist down but avoiding the excess of material. 

The piece joined to the waist is seen at No. 12. A 
row of stitching should be placed at the lower edge 
of the inside band, and this band will cover the 

raw edges of the cut portion at the front. The extension below the waist at the sides may 
need to be slashed several times in order that it may not draw over the hips. The lower 

edge is to be hemmed, and the hem may be carried around the 
slashes, or, if one prefers, small V-shaped pieces may be stitched 
into each of the slashes to provide the necessary amount of flare. 

There are many patent appliances on the market for the pur¬ 
pose of holding the skirt and waist together at the back, but a 
simple and effective arrangement is to sew two, three or five button¬ 
holed rings to the back of the waist, as seen at No. 13. If two are 
used, each ring is an inch and one-eighth from the centre back, or they 
are placed one in the centre of the back with the others two inches 
apart. Hooks are sewed with the 
same spacing to the inside of the skirt 
belt. Do not use hooks any larger 
than are necessary to fit into the rings. 

The bishop sleeve accompanying this shirt-waist has only a 
short slash at the cuff opening, and this is finished by sewing a 
straight strip of the material continuously along both edges of 
the slashed opening, the strip of material being the same width 
all its length. The other side is turned over and hemmed by 
hand or machine-stitched, to cover the seam first made. This 
applied band is seen at No. 14, and when the edge of the sleeve 
is gathered, this little band is turned under at the upper or 
overlapping edge of the slashed opening and extends on the 
underside to form an underlap. Two pieces are cut for each 
cuff, and an interlining of coarse muslin or crinoline, that will 
hold the starch when the waist is laundered, may be basted to 
the wrong side of one cuff piece; the second piece is then basted 
to the first, the right sides of the material facing each other. A 
seam is stitched along both ends and the side on which there is 
no notch, which will be the lower edge of the cuff. Trim off the 
seam at the corners and turn the cuff—baste around the seamed 
edge. Sew the cuff portion to which the stiffening was basted to 
the edge of the sleeve, making the seam toward the outside; turn 
under the edge of the outer cuff piece and baste it to the sleeve, 
covering the seam just made. 

The innet cuff piece is leally the cuff lining and may be made of lining material if necessary 
though the waist material is preferable. The cuff basted to the sleeve is seen at No. 15 One 
or two rows of machine-stitching should be made from the outside entirely around the cuff 
and it may be more conveniently handled in stitching if the sleeve is turned wrong side out’ 
In sleeves where the cuff opening comes at the seam, the cuff may be put on the sleeve before 
this seam is joined, when it may be more easily managed. If the cuff is intended for wear with 
link buttons it should finish at the edge of the slashed opening, and the underlap should be 



No. 14.—Straight Band Hemmed 
to Opening in Bishop Sleeve 



No. 15.—Cuff Basted to Sleeve 















DRESSMAKING, UP TO DATE 


39 



turned in at the top and left free from the cuff that the two ends may just meet and not lap. 

Generally when the closing for the cuff is made at the seam, no lap or facing is used; 
the seam is left open a short distance and its edges are hemmed. A buttonholed bar finishes 

the opening and prevents the seam from ripping. 
A lap cuff must be used with this sleeve opening, 
and the fancy cuff shown at No. 16 is novel and 
pretty. The illustration shows the way to apply 
it to the sleeve. The cuff and its lining are first 
seamed together, leaving the upper edge open from 
the plain end to the notch. It is then turned and 
the cuff is basted to the sleeve (which has been 
gathered), according to directions on the pattern, 
and stitched all around with two or more rows of 
stitching. Buttons and buttonholes provide the 
closing; the cuff may be interlined if desired. 

The top of the sleeve should be gathered 
between the notches, and if it is verv full, a 
second row of gathers three-eighths of an inch below 
the first gives a good effect at the armhole. A 
narrow, bias strip of cambric should be stitched in 
the same seam that stitches the sleeve into the 
armhole, and this strip is afterward turned over and 
stitched around to form a binding to the armhole as seen at No. 17. Or if the top of the 
sleeve is not too full, it may be sewed in with a French seam—first on the right and then 
on the wrong side. Directions for which are given in the chapter “Hand Sewing Stitches.” 


No. 16.—Sleeve Opening at Seam, with 
Fancy Cuff 


LINED SHIRT-WAISTS 


Although shirt-waists are generally made unlined, a lining is provided in some patterns; 
and this lining differs from the lining used for a closely fitted tailored or draped waist. It 
reaches only to the waist-line and has but one dart, and is not in so many pieces, as the curved 
shaping at the waist and hips is not required. For the 
same reason a much simpler method of boning may be em¬ 
ployed than that described for the fitted waists. A silk 
waist would, perhaps, be better lined, especially if for wear 
in cool weather, both for warmth and because the lining 
■will protect the silk from strain and make it wear longer. 

No. 18 shows the front of a lining in state of preparation. 

The lining should be basted and fitted, any necessary 
alterations made and the under-arm seams stitched. A 
hem is usually allowed on the fronts, but even if only a 
seam three-eighths of an inch wide is allowed, this front 
line should be traced. In fitting, bring the fronts together 
and pin them on this tracing, forming a seam toward the 
outside. Alteration may be made on this front seam also 
if necessary, and it should be marked to form a corrected 
front line, then turned over for a hem. If it is to be 
faced, the edge is trimmed to leave only a seam beyond 
this line. Cut a straight piece of the lining two inches 
wide, and a trifle longer than the front edge of the 
lining, to serve as a facing for each side of the front. 

Place a piece on the outside of the lining with one edge even with the edge of the front, 
and stitch a seam three-eighths of an inch back from the edge; turn the facing over, making 
the fold come just at the seam, place a row of stitching one-eighth of an inch back of the 
edge and make a second row three-eighths of an inch back of the first. Make a second 
row of stitching three-eighths of an inch beyond the first row at each of the seams, notch 
the edges that extend beyond the stitching, and into each of the casings thus formed run 
a piece of whale or feather bone and tack it in place, as seen in the dart seam at No. 19. 



No. 17.—Binding the Armhole 



40 


DRESSMAKING, UP TO DATE 




Place a bone in the casing made at each of the front edges, allowing it to reach to about the 
same height as the bone in the dart seam. Spread the back part of each hook and sew 
them on, alternating a hook and an eye as seen in No. 18. Place the hooks well inside the 
edge and sew through the two rings at the back and also around the hook end, sewing: 
this to the row of stitching near the edge. Sew completely through, allowing the stitches to- 
show on the outside of the lining. Be sure to place the bone in the front before sewing the 
hooks and eyes on the lower part of the fronts. Observe care in sewing the hooks and eyes on 
the second side of the front that they shall be in exactly cor¬ 
responding positions to those sewed to the first side. Turn 
under a seam at the edge of the facing piece and hem it over 
to the first row of stitching, covering the sewed parts of the 
hooks and eyes as seen at No. 19. 

The under-arm seam of the outside may be basted 
separately from the lining, although it is frequently joined 
in the same seam. The shoulder seams are usually included 

in the same seam with those 
of the lining. If any alter¬ 
ations have been made at 
these seams in fitting the 
lining, corresponding alter¬ 
ations must be made in the 
seams of the outer waist. 

At No. 20 is shown the 
way to close the outer 
waist parts when the lining 
is used. The method is 
always practically the same 
in waists of this description. 

The outside is placed on 
the lining with the centre 
front of the outside (which 
in this case is the centre of 
the middle box-plait) at 
the edge of the lining. The 
outer waist is basted to the 
lining at the neck and the 
armholes only. The left 
outer front is placed on the 
left lining front in such a 
way that the tucks or plaits 
on both front portions shall 
correspond when the waist 
is fastened. This must be 
ascertained by hooking the 

lining at the front and bringing the lap on the right outside- 
part over the left until the parts correspond; the left outer 
front is then pinned to the lining in this position and is 
basted to it at the neck and armholes, as was the right side. 
Small hooks should be sewed to the right front and button¬ 
holed loops to correspond worked on the left front; or a fly 
with buttonholes may be attached to the right front, as- 
previously described, and buttons sewed to the left. 

It * s geneially preferable to finish the neck with a neck¬ 
band and make the collar detachable, that different collars and stocks may be worn with the 
same waist. The sleeves should be basted into the waist in an ordinary seam- try on the 
waist to see that the sleeves are properly arranged and note if any slight adjustment needs 
to be made at any part of the waist; this is best attended to now before the waist is con¬ 
sidered finished. When stitching the sleeves in the armhole include in the seam the bias 
stiip for binding the edge, as previously explained. Turn this over and hem by hand fullv 
covering all raw edges. J ’ y 


No. 19.—Hem or Facing Covering 
Hooks and Eyes 


No. 18. — Dart in Lining Stitched 
for the Bone 







DRESSMAKING, UP TO DATE 


4 1 


LINGERIE WAISTS WITH INSETS OF LACE 




The shirt-waists buttoned in the back, although great favorites, apparently divide the 
honors with those buttoned in front. Among the simple models, the variety lies not so much 
in the multiplicity of designs as in the different adjustment of trimming. Insertions of various 
widths are arranged full length, front and 
back, or simply the front is decorated; again, 
the arrangement is in yoke outline between 
clusters of tucks. Others, which are plain in 
effect, have the front and back laid in box- 
plaits, with the sleeves either plain or plaited 
to match the waist. 

Although many varieties of lace insertions 
and edgings are used, Valenciennes seems to 
be the favorite; principally, perhaps, because 
it adapts itself so readily to shaping into 
curves, medallions and designs, under which 
the material may be cut away. There is a No. 20.—Material Waist over the Lining 

thread woven in each edge of the insertion 

and at the straight side of the edging lace by which it may be drawn up as on a gathering" 
thread. It is often combined with other kinds of lace; one sees medallions of Irish crochet 

or other heavy lace as the central 
figure from which radiate lines 
and loops of Valenciennes, the 
whole forming a design that almost 
covers the original material. The 
waist at No. 21 is a happy combi¬ 
nation of two favorites—eyelet em¬ 
broidery and Valenciennes inser¬ 
tion. The embroidery is of the 
all-over variety, to be bought by 
the yard; a pattern with well- 
separated figures was secured. 
The lace is basted to the waist in 
long lines, and the curves are so 
arranged that it will run between 
the figures. The same arrange¬ 
ment of lace would be effective 
on a waist of plain lawn or batiste. 

Ordinarily the lace would be 
machine-stitched . in place, but 
when time and patience may be 
depended upon, the lace may be 
held to the waist by using the 
imitation hemstitching or fagot¬ 
ing stitch. This is done with a 
very coarse needle and a very fine 
cotton, and looks like hemstitch¬ 
ing, although it requires no 
threads to be drawn; the stitch 
is called Bermuda Fagoting, and 
is fully 7 ' illustrated and explained 


No. 21.—All-over Embroidery with Lace 


in our book entitled, “Embroid¬ 
eries and Their Stitches”; price 
25 cents. The lace should be 

Dinned on the waist in the desired design, then basted with small stitches very close to each 
edo-e Cut away the material that lies under the lace, leaving only one-eighth of an inch inside 
the bastings at each side; turn back this edge and work the fagoting stitch through the 






42 


DRESSMAKING, UP TO DATE 




foundation material and this turned-back edge together, and across the edge of the lace. 
The open-work stitch adds to the beauty of the lace and produces an excellent finish. 

Simple designs, as suggestions, are seen at Nos. 22 and 23. The lace in these cases is 
machine-stitched in place, the material is cut away underneath, and the edges rolled back 
and overcast. No. 24 shows a yoke where 
hand-embroidery is combined with the lace 
insertion, the lace radiating from the neck 
forming panels with the embroidery between. 


No. 24.—Lace and Embroidery 


baste it with the seams toward the outside. 

Fit them in as closely as required and baste 
the alterations. Stitch the seams one-quarter No - 25.—Valenciennes Edging 

of an inch outside of the basting and cut the 

extra seam away one-eighth of an inch beyond the stitching. Remove the bastings, turn the 
sleeve and baste it again in the same place, but from the inside , and stitch it, making a 
quarter-inch seam. This completes the French seam. While the sleeve is still basted the 
inner seam should be ripped up as far as necessary to allow the hand to pass easily through 


No. 23.—Valenciennes Insertion 


No. 22.—Valenciennes Insertion in a Lawn 
Waist 

Valenciennes edging is applied to the waist 
front seen at No. 25, but in the same way as de¬ 
scribed for applying the insertion. A round dot 
is worked in satin stitch, with embroidery cot¬ 
ton to fill the centre of each of the lace wheels. 

It is quite important that the plain lower 
part of a lingerie sleeve shall follow the shape 
of the forearm and fit nicely, though not tightly, 
at the wrist. To accomplish this it is advisable 
to leave the seam at the inner or thumb side of 
the arm open from one to two inches. For an 
unlined sleeve of thin material French seams are 
best, and when preparing the sleeve for fitting, 





















DRESSMAKING, UP TO DATE 


43 






No. 26.— Fitted Sleeve Opened at 
the Wrist 


the wrist opening. Both sides of the opening should be finished with a narrow hem, and 
small lace buttons sewed to one side of the opening and buttonholed loops made at the 
other. This wrist finish is seen at No. 26, with a tiny lace frill falling over the hand. 

The long sleeve that extends an inch or more over the hand is usually graceful and becom¬ 
ing. It is prepared and fitted in the way already described, 
though this style sleeve requires tw x o sleeve seams as seen in 
a sleeve lining, to fit it properly. After the sleeve is fitted, 
and before stitching, open the inner seam at the narrowest 
part of the wrist to allow width for the hand to slip through, 
but not to extend the opening to the end of the sleeve. Hem 
the opening and close with buttons and loops as shown at 
No. 27. When the material is very thin and soft the sleeve 
need not be fitted in so closely at the wrist but may 
be left large enough for the hand to slip through, then 
drawn in at the wrist by buttons and buttonholed loops 
placed at each side of the seam as seen at No. 28. The 
buttons employed for this purpose should be inconspicuous 

and match the waist in 
color. Lace buttons are 
best for a white lingerie 
waist, but for a color 
that may be difficult to 
match, the small brass 

rings, used in many instances instead of the eye that 
accompanies a hook, may be used. Cover them by but¬ 
tonholing with twist of the gown color, then cross the 
thread from side to side, twisting it and making the 
threads meet in the centre, at which point they may be 
sewed on like buttons. Buttonholed loops of the same twist 
will fasten over them. A ring button is shown at No. 29. 

The plain lower portion of a puff sleeve which is 
unlined is joined to the puff part in a French seam 
and a piece of tape should be sewed at the inside to 
this seam, and again to 
the seam of the puff part 
to hold it to the proper 
length and allow the puff 
to droop over the lower or 
gauntlet portion. 

Fashion dictates 
whether the sleeve shall be open at the front, back or under 
portion, but whether at one point or another it is necessary 
in a good-looking shirt-blouse, to have the wrist quite snug- 
fitting and not permit it to remain large enough that the hand 
may be conveniently slipped through. To this end the several 
methods of finishing with buttons and buttonholes are given. 

Sometimes, in the deep gauntlet cuffs, buttons * 
and buttonholes are arranged at the back seam 
reaching from the elbow to the wrist, and while 
on some occasions the upper part of the gaunt¬ 
let may be closed, with the opening only at the 
wrist, it is in better taste to open the cuff to 
the elbow and have the buttonholes worked 
the entire length. 

The stock collar is joined to the waist per¬ 
manently and is usually composed of rows of . 

the lace insertion with perhaps beading between. A frill of lace or ruchmg finishes the upper 
edge Uprights of collar featherbone should be placed on a slanting line each side of the 
centre front and one on the left side of the centre back on a line with the buttons. Worked 
loops are placed here to correspond with the eyes on the right side of the collar. 


No. 27.—Sleeve Fitted Over the Hand 


No. 29.—A Ring 
Button 


No. 28.—Buttons and Loops at 
Wrist 








Draped Waists 


T HE construction of a waist requires the most minute attention to every detail, but if 
extreme care be observed all through the work and sufficient perseverance exercised,, 
one can be reasonably sure of a good effect. For a draped bodice the lining is made 
separately; it is fitted, and the seams are pressed open and boned before the outer mate¬ 
rial is adjusted. The seams must be slashed at the proper points and enough to allow 
the lining to fit in snugly. The boning must be of the correct height for the figure that is being 
fitted, and the “spring” of the bones must be just right. On all such small items 
depends the effect of the finished waist, and accounts for the home-made look so often 
deplored. 

When cutting the lining, observe the perforations indicating the grain of the goods. If 
the directions in this respect are not followed exactly, the waist-line of each section of the 
pattern will not come on the correct grain, and a lining that will stretch out of shape will be 
the result. The fronts or backs are reinforced and this sufficiently strengthens the place of closing. 

Some dressmakers advocate cutting cotton linings 
across the grain of the material, but it does not cut 
to such good advantage in this way. The argument 
is that the completed lining will not stretch and that 
it is not so likely to split. A correctly fitted and 
boned lining will stretch very little, if any, and the 
lining may be strengthened by making it double at the 
points where the greatest strain will come. 

To accomplish this do not cut out the darts, but 
before basting the dart seams, baste an extra piece 
of lining from the front of the waist to the second or 
back dart and reaching from the top of the dart to the 
bottom of the lining. Now cut up the centre of each 
dart between the rows of perforations, then bring the 
tracings of these perforations together and beginning 
at the top. baste the darts and include the stay pieces 
in the seams. This is particularly desirable for a 
stout figure. A waist fastening at the back has the 
back forms reinforced to corresponding height. Direc¬ 
tions for finishing a draped waist which is closed at 
the back are given in the chapter “Wedding and 
Evening Gowns.” 

At the seams of the under-arms, the shoulders,, 
and the darts, mark the sewing line by running the 
tracing-wheel along the line formed by the large per¬ 
forations. Do this when cutting the lining and while 
it is doubled, that both sides, may be marked exactly 
alike. Read carefully the instructions contained in the label of the pattern. Mark with a 
colored thread the small perforations that indicate the waist-line and also those marking 
the elbow in the large sleeve portion, and where the front seam of the sleeve should be placed 
in sewing the sleeve into the armhole of the waist. Baste the seams of the lining portions, first 
pinning them along and matching the notches. 

Dressmakers usually baste the under-arm and shoulder seams toward the outside for 
the first fitting, for it i« at these seams that the alterations, if any, are to be made, and this can 
be more easily done if the seams are toward the outside. It will be better for the amateur 
to baste them with moderately small stitches than to depend on pins. When the waist is first 
put on, draw it toward the front and, bringing the two raw edges together, pin them as in a 
seam, taking the first pin at the marks indicating the waist-line. Smooth the pattern over the 
figure at both front and back, and be careful that the indicated waist-line of the pattern is at 
the waist-line of the person being fitted. Make alterations at the under-arm seam and if neces- 

44 



No. 1.—Seams 
Slashed and 
Bound 





DRESSMAKING, UP TO DATE 


45 


sary, at the front edge. Draw the lining up well at the shoulder seams, hut not enough to draw 
it from the correct waist-line; it may be fitted here a little more snugly at the final fitting. 

If the armholes feel too tight be very careful not to gouge them out under the arms or 
around the front; this done too hastily often results in ruining the waist. The best plan is to 
snip the armholes for about three-eighths of an inch; this will be found to give sufficient spring 
and the sleeve will be stitched in just beyond the end of the snippings. If, however, this does 
not give sufficient ease to the armhole, pare the seams off a little and snip the seams a trifle 
deeper. The same caution applies to the neck. 

Pin the alterations carefully, and remove the lining. Mark the alterations by running 
the tracing-wheel along the seam, and be careful that it marks through both sides of the altered 
seam; then remove the pins and mark the tracing marks on each piece with a colored thread, as 
the tracing marks are apt to fade. Mark the alterations on the other 
side of the waist by using the corrected side as a pattern. Baste the 
seams again, this time with the seams toward the inside. Now stitch 
all seams except the shoulder seams; these are left open until after the 
material has been draped. Stitch the seams just outside the basting 
.so as not to make the waist any tighter. This also allows the bast¬ 
ings to be drawn easily. If the seam is stitched directly on top of 
the basting, both rows will be so interwoven that it will be almost 
impossible to pull out the bastings, and besides, the waist is likely to be 
too tight after it is boned. Notch the seams at the waist-line and tw r o 
or three times above and below—enough to allov r them to lie flat 
when pressed. Bind the seams neatly with taffeta seam binding, 
run on loosely, and press the seams open. Some dressmakers prefer 
to overcast the seams, and most of the imported French dresses are 
finished in this way, bu t it does not present as neat a finish and 
occupies a great deal of time, as the overcasting must be done closely 
and very neatly.. No. 1 shows a seam bound and another notched 
and ready to bind. It also shows the notching necessary to make the 
,side seam lie fiat w r hen it is pressed open. When no hem is allowed 
at the front edge of the lining, it is necessary to face it. Cut two 
pieces of the lining material in the same outline as the front and two 
inches wide. Baste one on the outside of each front, stitch a seam at 
the edge and turn the facing over toward the inside. Place a row 
of stitching one-eighth of an inch inside the edge and another far 
enough inside the first to allow a whalebone to be slipped in. If a 
hem is allowed at the closing edge turn it over toward the inside 
of the lining and make the tv r o rows of machine-stitching to form a 
casing for the bone. 

Whalebone may be bought in strips one yard long, about three 
yards being required to bone a waist. Get a medium-weight quality 
and let the whalebone soak in a basinful of warm water to soften, so 
the needle can be passed through it. If something less expensive be 
desired, there are several substitutes for whalebone which give satis¬ 
faction. These are sold by the dozen and in various lengths. Thirteen bones are required 
for the ordinary waist. These bones do not need to be soaked, as they are arranged for sewing 
through. 

A bone is slipped into the casing just formed at each side of the closing, allowing it to reach 
to within an inch of the top of the first dart, and sewed through the lining and the bone 
near the top to hold it in place. Round the ends of the bones and shave them for half an 
inch to make the bone thinner there, using a dull knife or blade of the scissors. 

Sew the hooks and eyes down the place of closing after the bone is in place. Alternate 
a hook and an eye, an inch and one-quart'er apart, down one side; then measure the other side 
against this, having them even at the top and bottom, and mark with pins the places on that 
side. Be sure that a hook and an eye come opposite each other. They should be sewed firmly 
and entirely through the lining. 

Hem back over the hooks and eyes the silk or percaline of the allowed hem or facing, 
bringing it close up under the turned-over part of hook and covering the sewing. (No. 1.) 

The seams should now be boned. If featherbone be used, follow the directions which the 
manufacturers of this bone furnish, together with an attachment for the sewing machine with 



No. 2.—Whalebone 
Properly Sprung 



46 


DRESSMAKING, UP TO DATE 




which to apply it. The instruction here is for whalebone or the uncovered featherbone that 
is now made to slip into a bone-casing and be used in the same manner as whalebone. 

Mark on each seam the point where the bone is to start. Five inches above the waist-line 
is the rule, the bone to finish half an inch above the lower edge of the waist. 

Procure a piece of single bone-casing or Prussian binding, as it is called. This may be had 
in several colors, but black or white is preferable; do not cut it in lengths before sewing on. 

Double over one inch and overhand the edges together to make 
a little pocket. Do not sew this pocket fast to the seam but 
begin three-quarters of an inch down from its folded-over end 
to sew the casing on with a running stitch. Sew first one side, 
then the other, holding the casing somewhat full and keeping 
it over the middle of the seam. Sew the casing* on all the 
seams before beginning to bone. 

Run the bone into the pocket at the top of each casing, after 
which fasten it there by sewing through both bone and casing. 
Sew through again three inches above the waist-line. Then 
from the bottom of the waist to this last tack push the bone 
very tight, so it will stretch out the seam and give the curve 


No. 3.—hook and Eye on Ends 
of Belt Tape 


or spring at the waist. Sew through bone and casing 
again one inch from the bottom. (No. 2.) Do not 
spring the bones in the front so much as at the sides 
and back. The amount of “spring” or curve of the 
bone will vary at the different seams. The greatest 
curve is required at the side seams, and less at the 
front and back. 

Cut a belt of the webbing, which is sold for the 
purpose. Make it three inches longer than the waist 
measure; turn back one inch and one-half at each 
end, sew a hook on one end and an eye on the other, 
and hem the raw edges over them, as shown at 
No. 3. Mark the centre of this belt and sew it to the 


No. 5 — Frills, as Padding, at Armhole 


Arrange the lining on the bust form, 
in reserve for this particular figure. If the 
ruffles as explained for the evening "waist, 
ruffles may be placed in position as shown a 


No. 4.—Bones Sprung in and Belt Tape 
Tacked to Back Seam 

centre-front seam if the waist opens in the 
back—or the centre-back, if it is made to 
open in the front—and to the seam im¬ 
mediately next to the centre also on each 
side of it. Make the lower edge of the belt 
one-half inch above the waist-line; sew firmly 
across the width of the belt with a long cioss- 
stitch to the inside of the seam. (No. 4.) 

Baste a bias strip of crinoline to the in¬ 
side of the bottom of the lining and turn 
under both lining, and crinoline three-eighths 
of an inch and baste, 
which has previously been prepared and is kept 
figure is flat over the bust arrange the taffeta bust 
If the figure is hollow around the armholes similar 
t No. 5 
















DRESSMAKING, UP TO DATE 


47 




The waist is now ready to be draped, the process being greatly facilitated by the use 
of the bust form. Cut the material for the outside of the waist by the pattern for that 
part and attach it to the lining according to the corresponding perforations and notches, as 
described in the label of the pattern. In the draped waists, which are generally worn 
now, the outside material is usually not caught in with the 
lining at any seam except the shoulder seam. However, 
there are occasions when the material is caught in the 
under-arm seams as well; these are not stitched when the 
other seams of the waist are, but are left basted until 
the entire waist is draped. When the seams of the lining 
are all stitched and boned the outside is adjusted in this 
manner: 

The material for the back of the waist, after being 
prepared according to the directions accompanying the 
pattern, should be pinned to the lining straight down the 
centre of the back, being drawn well down, then across 
toward the sides; pin it at the shoulder, the armhole and 
down the under-arm seam, stretching it down that it may 
lie smooth and flat, and placing the pins near enough to¬ 
gether to hold it well in place. The front is then draped on 
the lining according to the indicating perforations and 
notches at the neck and shoulder, but when the draped 
portion of the waist is reached a very elastic material may 
require to be stretched or drawn a little more tightly than 
one of firmer texture, and allowance must be made for this 
fact in matching the perforations that indicate where the 
outer material is to be tacked to the lining. When the front 
drapery is arranged from the shoulder to the bust-line, pin 
carefully about the armhole, then arrange the drapery below 
the bust; make the rounded part of the bust that lies at the 
second dart of the lining a central point from which to work 
the drapery in both directions. Draw the front drapery 
toward the under-arm seam, turn under the raw edge and fit 
it in a straight, well-shaped line to cover the raw edge of the 
back drapery. Pin this in place to be sure the line is good. 

After the other side has been draped and pinned in the same manner (making the same changes 
on both sides), remove the waist from the form and sew the front and back together by hand, 
slip-stitching with close stitches from top to bottom of the seam holding all firmly together. 

Another method of finishing this seam under the arm is to drape it on the form as directed, 

but after pinning the drapery and being sure that the 
line is good, baste this folded edge through the front 
drapery only; remove the pins and place a row of 
machine-stitching, using silk the same color as the 
material, close to the edge. Pin the stitched edge in 
place again, stretching it down well. This seam is 
pictured at No. 6. Pin the other side in the same 
manner, remove the waist from the form and stitch by 
hand, taking the stitches through the row of machine- 
stitching made in the front portion. Try on the waist 
after draping and, if it is correct, stitch the shoulders. 
Then press them open and finish like the other seams, 
because it often happens that boning pushes the waist 
up so that it needs taking up a little more on the 
No. 7—Facing the Bottom of the Waist shoulders. 

If the material is heavy or there is any likelihood 
of the lower edge of the waist being bulky, this portion is finished as directed in the chapter 
“Wedding and Evening Gowns,” that is, facing the bottom before the material is draped on 
the outside. If the material is thin and it is desirable to turn up the outside portion and the 
lining together, turn the outer material over the turned-over lower edge of the lining. Both 
outer material and lining may then be cat-stitched to the crinoline. A nairow bias facing of 


No. 6.—The Front Waist-Drapery 
Lapped Across the Back at 
the Under-Arm 




















48 


DRESSMAKING, UP TO DATE 













No. 8.—Inside View of Cord Finish and Facing in One 


lining silk is hemmed to the turned-over edge and the upper edge of this facing is hemmed 
to the lining. The bottom facing is shown at No. 7. Mitre the point at the back as shown. 

A desirable way to finish waists that are to be worn without a belt is to cord the edge. 
Cut strips of the material an inch and three-quarters wide, baste in a medium-size cable cord 
one-half an inch from one edge. 

Sew the cord to the lower edge 
of the w r aist. The wide side of the 
bias strip may have its edge turned 
under and be hemmed to the 
lining to form the facing. The 
method of applying this cord fac¬ 
ing is shown at No. 8. 

For a waist made to hook 
over on the left side these direc¬ 
tions mav be followed with very 

cions, but before stitching the lining fronts the left side is faced.with the material. 
This is more easily applied when the lining is flat and should continue across the shoulders, 

around the armhole and down the side, as depicted in 
No. 9, being at least two inches wide at all points. It 
is best cut from the piece without seams, but if this is 
impossible on account of the material being inadequate, 
joinings may be 
made, forming 
mitres at the up¬ 
per and lower 
points of the arm¬ 
hole. These seams 
should be pressed 
flat so that the 
joinings are as in¬ 
conspicuous as 
possible. 

The seams of 
the lining are join¬ 
ed and boned,and 
the hooks and eyes 
applied to the 
front as previous¬ 
ly directed. Al¬ 
though the ma¬ 
terial is in one 
piece across both 
fronts, the lining 
is hooked down 
the centre. If de¬ 
sired, the hooks 
and eyes may al¬ 
ternate for the 
entire length. 

* Hook the lin¬ 
ing together on the 
bust form and 

drape the material according to the design selected. 

Before removing from the form, mark the left side 
through the material alone, at the shoulder line, the line 
for sewing in the sleeve and the under-arm seam. Re¬ 
move from the form. After these are basted fit a piece of crinoline around the above-men¬ 
tioned places as pictured m No. 10. Turn over the edge and cat-stitch; sew the hooks at 
equal distances apart and in the positions shown in the illustration. Buttonholed loops are 
worked on the opposite side in corresponding positions. 1 


No. 9.—Front Faced for Waist Opened 
on the Side 


No. 10.—Arrangement of Flooks at 
Left Side 













DRESSMAKING, UP TO DATE 


49 


After the sleeves are inserted the correct position for these loops is indicated by pinning 
the outer front over the lining of the left side and marking directly opposite each hook. These 
buttonholed loops are worked on the facing and directly on the seams and are made in the 
manner explained in the chapter “Hand Sewing Stitches.” They should be made firm and 
strong so that they will stand the strain placed upon them. Face the shoulder and under¬ 
arm, covering the sewing of the hooks with a piece of bias silk, but shape the piece to be 
used for the armhole. 

It is always advisable to close the collar at the back, whether the waist closes at the front, 
the back or even the side. If a collar of the dress material is used it should be interlined with 



No. 11.—Collar Applied to Neck 


crinoline, then turned over on all its edges. If the waist is closed 
at the back the collar is simply slip-stitched all around to the 
neck. If closed at the left side the entire collar, except a small 
portion at the back, is stitched firmly to the neck, and the left 
lining neck, which is free, is bound with ribbon. For a waist 
with front closing bind the left side of the neck with seam bind¬ 
ing, pin the collar around the right side, with the centre of the 
collar at the front edge of the right front and the right end of 
the collar one-quarter of an inch to the left side of the centre- 
back seam. Sew the collar to the neck, being careful not to 
catch the stitches through the outside material. Sew three 
hooks on the left end of the collar (on the inner side) and 
one to its lower edge about half-way of the left side. Cut the 
facing (preferably of silk) the same shape as the collar. Turn 
in the edges of the facing and hem it to the collar and to the 
neck of the right side of the waist. Work three buttonholed 

loops at the right end of the collar and one in the left side of the waist at the neck, to catch 
the hook sewed at the lower edge of the collar and prevent it from riding up from the waist. 
The collar and facing are seen at No. 11. 

If the collar is made of transparent material the crinoline should not be used, but the 
collar may be held up by strips of collar bone as explained for transparent collars in the chapter 
44 Wedding and Evening Gowns.” 


No. 12.—Fulness at Elbow 
of Sleeve Lining 


MAKING THE SLEEVES 


The making of sleeves is considered by the amateur, and many dressmakers, as the 
most difficult part of the costume. There being two to be made exactly alike, greater caution 
is necessary from the time the sleeves are cut until they are inserted and sewed in the 
armhole. If not cut and basted correctly, one sleeve may be larger than the other; and if 
not stitched in the armhole exactly alike, one may twist and the other hang without a 
wrinkle. 

The first step before cutting is to study the instructions on the label of the pattern. Read 
these carefully, as each label is different irrespective of the fact that certain sleeves look very 
much alike. Measure for the sleeve as instructed in the chapter “The Correct Method of 
Altering Patterns” and make the necessary changes. 





50 


DRESSMAKING, UP TO DATE 


Next, the sleeve must be accurately cut and carefully basted. Much depends upon correct 
basting and the exact location of the elbow, since a very ill-fitting sleeve may result through 
carelessness in either direction. 

To be very accurate, the pattern may have the three-eighths inch seam marked off; this 
is traced through the pattern to the lining with a tracing wheel, the back seam being traced 
through the line of perforations. 

In joining waist and sleeve seams short basting stitches are 
employed, as pictured at No. 12. Never place machine-stitching 
directly on top of a basting; if the seam is stitched just outside 
the basting there will be no difficulty in removing the latter. 

Enough cannot be said of careful basting, as, next to cutting, it is 
the groundwork of dressmaking. If it is poorly done, it is the 
source of many future difficulties. 

If a fancy sleeve is to be made, the lining must be fitted first 
and the material draped or arranged later. In basting the lining, 
place the under piece of the sleeve upon the upper with the 
notches of the front seam together and pin in position; then baste 
this seam with small running stitches. Pin the back seam 
through the outlet perforations from the top to the upper notch, 
and again from the lower notch to the bottom. The surplice 
material of the upper sleeve portion is gathered into the space 
between the notches to form the elbow, and the seam is basted 
full length. The sleeve should always be basted through the trac¬ 
ings, since in doing so the same width of the seam will be taken 
off both upper and under and the outlet basted correctly on the 
line of perforations. 

Adjust the sleeve in the proper position, draw it up well on 
the arm, so that the elbow is in the correct location, and pin the 
sleeve in the armhole, with the front seam to the indicating mark 
as directed in the label. It may be perfectly correct in a great 
many instances, but if the sleeve does not set correctly, move the 
front seam either above or below the mark as the case demands. 

In a sleeve which sets properly after basting, it will be noticed 
that the front seam instead of continuing along the edge, when 
laid flat on the table, will roll somewhat toward the under of the 
sleeve from the centre of the seam to the wrist, as shown at No. 

13. This is quite important, as many workers imagine that the sleeve should set perfectly 

flat the length of this seam, with the seam directly on the edge. 

Drape the material sleeve on the lining, remove the bastings and 
press the seams flat. Clip the front seam, then overcast or bind with 
a narrow silk binding ribbon. An interlining of plain crinoline is 
placed in the bottom, one to two inches deep. With the sleeve right 
side out, roll the crinoline until it can be slipped into the wrist. Place 
the hand inside and move the fingers about until the crinoline fits the 
shape without either drawing or falling in folds; then baste. The 
work is now done from the wrong side. Turn the sleeve inside out and 
turn up the bottom three-eighths of an inch. (No. 14.) Cat-stitch 
this to hold it down, then press. Face the wrist with a bias piece 
of silk, and slip-stitch or hem at the upper and lower edges. Any 
embellishment or trimming is added and the sleeve fully finished 
before it is basted in the armhole. 

The sleeve now fits the arm correctly and comfortably, and it 
remains for the worker to insert it accurately in the armhole that it mav be eciuallv com¬ 
fortable when sewed in the waist. y 

If the armhole feels too tight, do not hurry to trim it out. The waist may feel a little 
tight when first tried on, but it must be remembered that a three-eighths-inch seam must 
be taken off when the sleeve is sewed in, and this will make the armhole about one inch 
larger. Of course, if it feels very snug it may be trimmed a little or clipped at intervals as 
explained for fitting the armholes. After the sleeve has been sewed in the armhole the seam 
is overcast. 



No. 13.—Correct Location 
of Front Seam 



No. 14.—Wrist of Sleeve 
Prepared for Facing 







Skirts 

T HE styles of skirts are diverse and varied, and as it is necessary to know just how to 
proceed when finishing any particular mode, we have selected a number which require 
different finishing, so that when these are understood it will hardly be possible for 
the worker to encounter any difficulties in other styles that may be put forth, which 
she cannot master. However, due consideration should be given the label on each pattern. 

The lengths of skirts vary according to circumstances. The instep skirt and short round 
skirt are solely for walking purposes. The round skirt, which touches the floor, runs the gamut 
of the dancing skirt, the walking skirt and the house skirt; it is available for all conditions. 
The medium sweep and the long sweep skirts are usually admired for the more ceremonious 
occasions, the carriage, the theatre, the festival, etc. 

Comparatively few of the skirts at present are lined, or, if a lining is used, it is in the form 
of a foundation petticoat and is often made entirely separate from the outer skirt, having 

its own waistband and placket closing. In 
neutral colors or black, one lining skirt may be 1 
worn with different outside skirts, though, un¬ 
less the material of the gown is transparent, 
the lining skirt is often omitted entirely, 
one of the colored petticoats of silk or its 
imitations, now so generally worn, taking its 
place. The flat-lined skirt, as it is called when 
skirt and lining are made in one, is scarcely 
ever seen; its return has been rumored, but it 
seems hardly likely to find much favor, as a 
skirt of this sort is always heavy. It is true 
that so much cloth and so much lining have 
probably the same actual weight whether 
made together or separately, but the unlined 
skirt worn over the foundation petticoat is 
apparently much lighter and certainly more 
graceful, and, when made of cloth, even the 
foundation skirt may be dispensed with. 
Taffeta is usually employed for the founda¬ 
tion skirt, but where the cost is a considera¬ 
tion, percaline, nearsilk or any like substitute may be used instead of silk. 

If percaline or any double-width material is used and a skirt with wide gores is to be cut, 
fold the lining crosswise, allowing the cut ends to meet, and cut the largest piece first, placing 
the broadest end of the pattern at the cut end and the straight side to the selvage of the lining. 
The narrower gores may be inverted and cut from the remaining width. W hen cutting circular 
or other skirts which are to be bias at the centre front, the directions on the label should be 
followed implicitly. With the tracing-wheel trace through the pattern, keeping an even, true 
line for the seam. If necessary the front or any single gore may be cut last by folding the 
remaining lining lengthwise, being careful to measure before the previous gores ha\ e been 
cut. that the length will be sufficient. 

The foundation skirt is usually finished with an accordion-plaited flounce, which may 
be any prescribed depth. If made with a plaiting, the length of the upper skirt must be calcu¬ 
lated before cutting, since the deeper the plaiting the shorter the upper portion, besides, allow¬ 
ance must be made for the seam which joins these together, and the hem on the plaiting. . This 
hem is one-quarter of an inch deep and stitched by machine. It is joined to the skirt in an 
ordinary seam, turned up on the skirt and covered with a ribbon binding, as shown at No. 1, 
or a narrow facing of silk may be sewed in the seam at the same time and all turned up and 

stitched to the upper portion. , 

Sometimes this plaiting is hemmed top and bottom and the upper portion is permitted 

to extend under the flounce several inches. The latter edge is pinked or finished with a tiny 

51 



No. 1.—Plaiting Stitched on Foundation Skirt 































52 


DRESSMAKING, UP TO DATE 


hem and the flounce is placed at the line indicating the length on the upper portion and 
stitched to this skirt one-quarter of an inch below the upper hemmed edge, forming a heading. 

After cutting, the lining is stitched and pressed and the seams overcast or bound, after 
which the plaiting is added. This foundation skirt may now be basted on the belt, and is ready 

to be tried on, but is not finished until the drop skirt is added. 

The belt is made of silk and should be cut on the warp or selvage. It is usually two inches 
and a quarter longer than the size of the waist, the width varying from very narrow foi a stout 
figure to two inches and a half unfinished, for a slim figure. Crease three-eighths of an inch off 
each side and the same at both ends, double the belt over forming half the width and baste 


No. 2.— Cord on Top of Skirt 


near the fold edge; now mark off one 
inch and a half which will be left beyond 
the size of the waist for the lap; this 
must be basted plain to the belt. 

Find the centre of the skirt, also 
the centre of the belt after the inch and 
a half has been deducted for the lap, 
and pin together by placing the right 
side of the belt to the lining of the skirt; 
pin on half-way round, fold the belt at 
the centre crease and mark with chalk 
or pins where the seams or darts of the 
other side of the skirt are to be placed. 

In this manner corresponding seams 
applied at these marks will be fitted to 
their proper positions on each side and 
the skirt will be accurately adjusted on 
the belt. Baste off the three-eighths 
of an inch seam with strong cotton. 

If there is any doubt that the skirt 
may not fit correctly it is a better plan 
not to baste the belt to the skirt in the 
beginning, but to pin it securely around 

the waist and pin the skirt to the belt after the hips are fitted and the placket carefully ad¬ 
justed. In this way the correct lines for the seams may be positively ascertained. When 
fitting, the length is adjusted by raising or lowering the plaiting on the upper skirt portion 
where necessary. 

If a plaiting is not desired on the bottom of the skirt, the lining is cut full length and 
the bottom interlined with crinoline or haircloth from five to ten inches deep and this is faced 
to its full depth with the lining, as explained in the chapter “Wedding and Evening Gowns.” 
The interlining, however, may be omitted if a number of small ruffles are to finish this skirt. 

After the skirt has been prepared, the correct length is measured off. Sometimes a skirt 
will be too long at the sides and back and it seems impossible to obtain the correct effect by 
turning up at the bottom; in this case raise the skirt above the belt at the sides and back, 
adjusting around the hips. When a skirt is to be short (for golfing or other wear) a good 
plan for obtaining an even length all around is to measure on a card the desired length from 
the floor. Having the figure on a pedestal or table, rest the card on the floor and with tailors’ 
chalk mark all around the skirt at the top of the card. This is perhaps the simplest and best 
method for short skirts. 

Trains are any desired length, but for these a special pattern should be bought, as 
through any attempt at experiment in lengthening the back, the gown is likely to be ruined 
by the imperfect shaping. 

Pin the corresponding seams together at the top and bottom of the skirt and with either 
chalk or pins mark for the length through the opposite side. Baste a true line around the bot¬ 
tom, turn up on this tracing and try on the skirt. Any little variation or modification may be 
made at the top around the belt, and, if necessary, alterations may be made at the bottom. 

If the lining has been carefully fitted, there will be very little trouble later, and the skirt 
may be readily completed. Never finish a skirt around the bottom before the belt is basted on, 
because no matter how carefully measured it is likely to hang unevenly; the skirt may be 
short in places, and, if completed with velveteen or braid, there is no possible way of 
lengthening. 






DRESSMAKING, UP TO DATE 


S3 


The material skirt is cut from the pattern and may be the same or an entirely different shape 
from the foundation skirt. After the seams are joined and pressed this skirt is fitted to the foun¬ 
dation skirt and sewed in the same belt unless the petticoat is desired separate. The lower 
edge is usually finished with a hem about one inch and a half deep, which must be allowed 
in cutting, as only a seam finish is generally allowed on patterns. The hem may be stitched in 
rows on the machine or blind-stitched, or tucks or other decorations may be added. 

In a great many skirts where few gores are provided it is necessary to hold the material 
a little full on the belt, so that the shaping of the gores may not be distorted to fit over the 
hips which may be a trifle larger, or a waist a little smaller than the average. In perfectly plain 
skirts of wool this fulness may be pressed so that it is not at all discernible. In stiff silks 
the effect cannot be entirely obliterated, but it may be somewhat relieved by judicious pressing. 

If necessary, the skirt may be tried on for the last time, to be certain that it is thoroughly 
correct, in which case the belt is ready for finishing. 


FINISHING THE BELT 


One edge of the belt has been sewed to the skirt; turn the remaining edge over the top of 
the skirt covering the seam and stitch down by hand or machine. Overhand the ends that 
have been turned in. 

When sewing the hooks and eyes on, place a hook one-eighth of an inch back from the 
right-hand edge at the bottom of the belt; sew an eye with the point touching the seam that 
joins the fly to the skirt. Put another eye directly on the end of this side of the belt and a 
hook on the opposite side to correspond. Hook the skirt before marking for this latter. 

Hangers four inches long are 
made of silk or cotton tape and 
sewed flat to the belt; one end fast¬ 
ened at the hook, drawing the tape 
its full length toward the front and 
sewing securely on the other end. 
Measure on the opposite side of the 
belt for the corresponding tape. 

Work a herringbone or fancy 
stitch on the belt to indicate the 
centre of the skirt. This little 
mark is very useful inasmuch as 
it permits one to properly adjust 
the skirt on the figure, so that the 
centre of the front gore will always 
be directly below the centre of the 
front of the waist. 

Skirts for stout figures are fre¬ 
quently finished with a cording, and this is accomplished in the following manner: After the 
skirt has been properly fitted, a bias strip of strong silk is cut one inch and a quarter wide. 
This must be a perfect bias, and an old-fashioned cording made by using a medium-sized 
cable cord. In basting, be very careful not to stretch either the top of the skirt or the cording. 
If the skirt is stretched, it will not cling properly to the figure, but stand out at the top in a 
very ungraceful manner. If the cording is stretched, it will not fit when turned 0 "\ er. Baste 
the skirt and cording together by placing the side having the narrow seam of silk against the 
right side of the skirt with the cording toward the bottom No. 2 and having the line of 
running stitches three-eighths of an inch below the top of the skirt. Baste this carefully, aftei 
which sew it to the skirt by hand, using back-stitches directly on top of the previous row 
of stitches. Turn the skirt over on the line of stitching, so that the cording just forms the 
heading. None of the stitches should show here, and if the work is properly executed the 
cord will be snugly encased and the top of the skirt roll slightly. ^ ith the right side of the 
skirt toward the worker, baste along the top just below the cording. Turn on the wrong 
side, turn in the edge of the silk one-quarter of an inch and hem carefully to the lining. 
Stretch the bias silk slightly where necessary at the curves, and be careful not to take the stitches 
through to the outside. The finished effect is shown at No. 3. 



No. 3.—Finished Effect of Cord 




54 


DRESSMAKING, UP TO DATE 


Sew three or five hooks in an upright position on the back of the belt two inches apart 
to correspond with eyes or rings on the waist. This prevents any displacement or pulling away 
at the back and assures a feeling of security which is a relief to the wearer’s mind. If the 
waist is to be worn outside the skirt, worked rings are placed on the belt and hooks on the 
waist. The method of finishing the skirt of a wedding or evening gown is described in the 
chapter “Wedding and Evening Gowns,” and some of the points put forth may be adapted 
to other skirts, particularly those of a dressy sort. The placket may be finished as described 
in the chapter referred to, and either French patent hooks and eyes or patent fasteners used. 

In finishing the lower edge of the material skirt a soft finish is usually desired, that is, the 
hem is simply turned over without interlining. When the material of which the skirt is made is 
soft and of light weight, albatross, voile and the like, and an interlining is preferred, it will be 
better to use 





No. 5.—Hem Gathered at Tod 


No. 4.—Cambric Interlining in Hem 


strips of lin¬ 
ing rather 
than crino¬ 
line inside 
the hem or 
facing, and 
when the 
skirt is of 
silk, light¬ 
weight cot¬ 
ton flannel 
is often 
used, as the 
idea is to 
give “body” 
and weight 
to the hem 
rather than 

actual stiffness, and crinoline would quickly cut 
through the lighter materials. No. 4 shows the way of 
enclosing a bias strip of lining when the skirt is 
hemmed instead of faced. The lower edge is turned 
up and traced as previously described; the bias lining 
should be turned over a seam-width and the fold edge 
of this turn laid even with the tracing stitches. 

Stretch the lower edge of the bias lining to make it 
conform to the shaping of the lower edge of the skirt; 
baste the strip of lining in place, taking the basting 
stitches through its centre, then turn the lower edge 
of the skirt, that has been allowed for a hem over the lining (which now becomes an inter¬ 
lining when it is enclosed between the skirt and the hem), and baste along the fold edge, as 
shown at No. 5. The upper edge of the hem will be much fuller than the part of the skirt 
to which it is to be hemmed, and this fulness may be disposed of in gathers, as seen in the 
illustration. After the edge of the skirt is basted, measure on the hem straight up from the 
bottom of the skirt and mark the hem depth; this can be done with a card cut the required 
width; lay the edge of the card even with the bottom of the skirt and mark along the top 
with tailors’ chalk. Turn over the top of the hem on a line with these chalk marks and 
gather through both thicknesses just below the fold edge. After the edge is gathered all the 
way around, baste it to the skiit. Be careful to keep the lines of fulness running straight up 
from the bottom of the skirt toward the gathered edge. Hem the skirt by hand or stitch it 
No. 6 shows how the hand-hemming is done. In this case the turned-up hem portion was 
fitted to the skirt by laying small plaits where necessary, instead of gathering the edge The 
same care should be observed to make these plaits run in straight lines, as only in this way 
can a smooth, flat-lying hem be formed. The plaits should be basted in place and then the 
overlapping part hemmed to the part under it, but not through into the interlining or the 
skirt. The upper edge of the hem is to be slip-stitched to the skirt, taking up only a thread 
or two m the skirt and slipping the needle along inside the fold edge of the hem- the stitches 
may be made about one-quarter of an inch apart. When the material is fairly thick the 


No. 6.— Slip-Stitching Hem to Skirt 






DRESSMAKING, UP TO DATE 


55 



stitch need not be taken entirely through it but can catch a thread of the wrong side of the 
cloth. In silk or thin woollen goods it is necessary to take the stitch through, but if only a 
couple of threads are picked up and the hemming thread is not drawn tight, these little stitches 
will scarcely show, especially after the hem is pressed when the skirt is finished. 

An outside skirt which is cut circular and plaited is shown at No. 7. This is much easier 
to adjust at the waist-line than a plain circular skirt. The model illustrated has a seam at 
the centre front and is cut bias at both front and back, bringing the straighter part of the 
check on the sides. The small perforations in the pattern indicate how it should be placed on 
the material to cut the bias front edge, and the breadths should be matched and joined as 
though it were a plain circular skirt, but it is not necessary to fit a cambric pattern, as any 
necessary alteration at the waist-line may be made by lapping the plaits more or less, as may 
be required. Do not attempt to mark the position of the plaits until the breadths have been 
stitched together and the seams pressed open. A checked or small pattern is not so difficult to 
match at the seams as a large-figured pattern would be, but care should be observed to make 
the checks match, else the line of join¬ 
ing will show irregularly when the 
skirt is finished. The bias seams at 
front and back should also be made 
to match accurately, and this is done 
by matching the straight lines of the 
check both horizontally and perpen¬ 
dicularly across the full width of both 
sides. It is only by such care that a 
skirt can be accurately and evenly 
made, with certainty that both sides 
shall be exactly alike. Place the pat¬ 
tern on the material and mark (with 
tailors’ tacks) both the large and the 
small perforations from waist to hips. 

Separate the two parts by cutting the 
tacks and baste the fold of each plait 
one-eighth of an inch from the edge. 

As these plaits are all more or less 
bias, care must be observed not to 
stretch them. Stitch each basted edge, 
then lap the fold-edge to meet the line 
that represents the perforations that 
indicate where the plaits should reach. 

If the skirt is of thin material, the No. 7.—Skirt Ready for Foundation 

tailors’ tacks in marking the perfora¬ 
tions are liable to pull out in handling ... 

the skirt, and it will be better to mark at each of these lines with a line of colored basting 
thread. Baste each plait from the hip to the waist, according to the indicated line, then 
try on the skirt. Make any required alterations at the waist-line, and slip-stitch each plait, 
by hand, to the skirt, making the stitches through the machine-stitching. 

Tucks of various styles and sizes are fashionable at different periods and ornament drop 
skirts and full skirts of soft materials, which seem to demand something more than a plain 
hem for a finish. If the bottom of the skirt is straight or nearly so,, this is not very difficult, 
but the increased fulness frequently requires the bottom of these skirts to be almost circular, 
and then to make the tucks lie flat is sometimes puzzling to the amateur. Since “nun” tucks 
are, perhaps, the most difficult to accomplish, the following will prove of great assistance 

to the worker. . ..... , 

“Nun” tucks are ordinary tucks, but on account of their depth require a little different 

treatment, because where the bottom of the skirt rounds at the sides and back the lower part 
is naturally fuller than the upper. The name “nun” tucks is given them because they are 
used as an edge finish on skirts worn by the members of certain religious orders. Bias folds 
are frequently used instead of these tucks and directions for making these and folds of various 

kinds will be found in the chapter entitled “Bias Bands and Folds” 

When making a skirt to be ornamented with “nun” tucks the lower edge should be turned 
under for a hem, baste this fold about half an inch from the edge with small basting stitches. 




56 


DRESSMAKING, UP TO DATE 



No. 8.—Preparing "Nun” Tucks 


Measure to the required depth and turn under a seam; baste this, as it is turned under, separate 
from the skirt with small stitches and then draw up these stitches, thus shirring the edge until 
it is the same size as the part of the skirt it is to be stitched to and will lie flat against it. Then 
baste the hem as usual. Place a fine basting around the line of perforations which marks the 
under fold of the tuck; from this measure the width of the tuck and place another basting 
there; mark these through both sides at once, with either tailors’ tacks or chalk. Bring these 

two bastings together and pin through; 
baste the edges of the tuck thus formed in 
the same way as the edge of the hem was 
basted, then lay the skirt on a table or lap- 
board with the full side of the tuck upper¬ 
most, and draw the fulness so it will lie 
naturally, changing where it has been 
pinned, if necessary, and baste the tuck 
with small stitches. (No. 8.) After the 
hem and tuck have been stitched, press 
them well on the wrong side. The hem 
and tuck finished are shown at No. 9. Some¬ 
times the perforations will mark the fold 
line of the tuck, in which case follow the 
directions on the label. 

If the tucks are not provided in the 
pattern they must be allowed for in cut¬ 
ting, and experiment in pinning them in 
place must determine their position, depth 
and the space between. Both sides of the 
skirt should be traced at once with tailors’ 
tacks, as explained. After the stitches are 
cut and the two sides separated, fold each 
tuck along the line of the tracing thread and 
baste. Now measure from the tracing on 
the under side of the tuck, toward the bottom of the skirt, the allowed width of the tuck. 
Cut a measure or gage from a piece of card or stiff paper, as directed for ordinary tucks, 
making it three-quarters of an inch wide and several inches long, and cut it in straight, one- 
quarter of an inch at the measure 
the first tuck is to be, in this case 
an inch and one-half. Half an 
inch below this cut start a diagonal 
cut that shall reach the quarter- 
inch cut; this makes a notch with 
one straight edge, and the dis¬ 
tance from the end of the card to 
this straight edge will form the 
measure. Measure the width for 
the tucks at short intervals and 
make a chalk mark at each; then 
run a row of rather fine basting 
stitches along from one chalk 
mark to the next, forming a con¬ 
tinuous line, through only one 
thickness of the material. Lay 
the tuck at the folded and basted 

edge on a table or lap-board, and baste through at the line of fine bastings just made, draw¬ 
ing the fulness into little gathers when necessary and finishing the same as perforated tucks. 

No. 10 shows the waist finish of a full skirt which would, in all probability, be finished 
with tucks above the hem. The skirt may be shirred in spaced rows around the hips, but 
this style is not becoming to every figure and when used, the horizontal lines on which the 
shirring is done should be adapted to each individual; a line starting at the waist-line in 
the back and having a drop of from one and one-half to two and one-half inches will 
usually be found to give a satisfactory drop effect. 












DRESSMAKING, UP TO DATE 


57 


When waists have the long, pointed effect in the front, it is well to try on waist and skirt 
together and follow the line of the edge of the waist when marking for the shirrings. The skirt 
should be gathered into the belt for this trial, and the line for the shirring may then be marked 
around by the placing of pins, chalk marks or a piece of tape. These are afterward removed, 
the line so formed is straightened, and the shirrings are made. If three quarter-inch spacings 
are allowed in this shirring, the space between the top row and the belt at the front may be 
filled in with short rows, beginning at one side, running down to the centre of the front and up 
again toward the belt at the other side, finishing there at symmetrical distances. When the 
deep shirring composed of several rows is not desired it is advisable to place a second row of 
shirring one-quarter of an inch below the row over which the belt is placed, as shown in the 
illustration; this holds the gathers more closely in place. 

The foundation skirt for light Summer fabrics is generally of lawn finished with a hem and 
trimmed with ruffles of lawn and lace as elaborately as one may desire. After the material 
skirt has been stitched and pressed it is trimmed, draped over the foundation skirt care¬ 
fully, and the back properly, adjusted; the belt is then turned over and finished. 


FINISHING WALKING SKIRTS 

In this day of repeated expressions of very great common sense in dress we are constantly 
being confronted and surprised at new methods and ideas which tend greatly to one’s com¬ 
fort, without in the least detracting 
from the beauty of a garment. 

Skirts which heretofore were a 
weight in themselves are now light¬ 
ened to a greater or less degree, and 
where the material is heavy the 
weight is greatly decreased by the 
adoption of new methods of finish. 

According to the most advanced 
and scientific ideas skirts of heavy 
cloth are tabooed entirely, but when 
insisted upon, they are made wholly 
devoid of lining. The seams are 
finished according to any of the 
methods illustrated in the chapter 
“Novel, Artistic Seams,” and are 
overcast or bound, nothing but a facing being used for finishing the lower edge. This is 
usually decorated with several rows of machine-stitching, serving the double purpose of ornamen¬ 
tation and holding the facing in position. 

Few goods are so tightly woven 
as to resist fraying, and in almost all 
cases where the seams are not finished 
according to the method for imitation 
strap seams, they are bound with a bias 
strip of farmer satin or sateen. 

If the material is very heavy, only 
the outside edge of the double-welt 
seam is bound and the remaining edge 
cut from underneath, the latter edge 
being hidden after the second stitching 
is completed. The seam must be of 
sufficient width, however, that the work 
will not slip under the presser foot and 
thus make it impossible to stitch a per¬ 
fectly correct line. 

In exceedingly heavy cloths the 
seam may be joined and pressed and each edge bound, after which it is ornamented with one 
row of stitching directly each side of the seam and, again, three-eighths of an inch from these. 




No. 10.—Skirt Ready for the Belt 






58 


DRESSMAKING, UP TO DATE 



No. 12.—A Skirt with Hem as Bottom Finish 


If the bottom of the skirt is to be ornamented with stitching, bias strips of flannel, light 
in weight, and cotton and wool mixture are basted to the cloth on the under side that the 
stitching may show with better effect. The length of the skirt should be marked with a tracing 
thread, and the edge of the flannel should reach just to the mark. The stitching except the 
top row is then made through the skirt and the flannel interlining (usually one-quarter of an 

inch apart), but the part to turn up for 
the hem, which has been allowed in cut¬ 
ting, is left separate. Be careful to have 
an easy tension on the machine, that the 
stitching may not draw. After the 
stitching is finished, turn up the hem 
and lay plaits in it wherever required to 
make it fit around the skirt. Baste these 
plaits in place, then with a bias strip of 
lining an inch and a quarter wide bind 
the top of this hem and baste into place. 
The top row of stitching should then be 
placed in the skirt and through this 
turned-up part of the hem also,to hold it in 
place. The plaits which have been basted 
in the under part of the hem should be 
slip-stitched with silk of the same color 
and the hem well pressed on the wrong 
side. This finish is shown at No. 11. 

For a simple hem finish, when so much stitching is not desired, a bias strip of cambric 
or other lining should be basted in the bottom of the skirt in the same manner as the flannel. 
The hem is then turned up over it and basted in 
place and a piece of seam binding or bone casing 
should be basted flat over the raw edge and one or 
two rows of stitching placed through this and the 
skirt. This finish is shown at No. 12. 

If only one or two rows of stitching are wanted 
they may be taken through both skirt and underhem. 

If no stitching is desired, if the material is of cloth 
weight, the top of the underhem should be bound and 
the hem basted in position, then, folding the cloth of 
the skirt just at the top of the hem, overhand the 
bound edge and skirt together, catching only partly 
through the cloth that the stitches may not show in 
the outside, and using fine thread or silk the color 
of the material. The method of working is shown at 
No. 13. If the material of the skirt is thin it will be 
more difficult to prevent the stitches from showing. 

The threads should be rather loose. The flannel or cambric which is placed inside the hem 
is intended more to give firmness and smoothness to the skirt and stitching than as stiffening. 



No. 13.—Bottom of Skirt Hand-Hemmed 


PLACKETS APPROPRIATE FOR VARIOUS STYLES OF SKIRTS 

The placket is one of the most important considerations in a well-made skirt, for it 
may either make or mar the general appearance of the entire gown and denotes at a glance 
the quality of the workmanship. Here, as elsewhere, untidiness is.to be deplored, for the 
entire skirt may be thrown out of position and given a very careless and slipshod appearance 
simply because the placket hooks and eyes are absent, or because they are sewed on in such 
an indifferent mannei as to be next to useless. The question of using either hooks and eyes 
or patent fasteners must be settled by each individual. Many prefer the latter, while others 
contend that these are no improvement over the former; in many cases, however, both have 
been used together with most satisfactory results, as will be explained later for the various 
methods of finishing. 







DRESSMAKING, UP TO DATE 


59 


One of the principal reasons why many plackets are gaping and ill-fitting is because the hooks 
and eyes are placed too far apart and insufficient protection is afforded against the strain at 
this point. Care should be exercised in sewing on fasteners, of whatever description. A 
few extra stitches when they are first sewed on, that they may be held firmly in place will 
prove like the stitch in time,” and, perhaps, prevent the hook or eye from falling off entirely. 

A placket may be at the back, front or side of a skirt, depending upon the design or con- 



No. 14.—Finished Placket 



No. 15.—Placket Showing Hooks and Eyes 


struction. There are many methods of finishing plackets or skirt openings, and after a few 
have been explained the worker will be able to judge upon which occasion each can be used 
most advantageously. 

No. 14 pictures the style of skirt closing generally adopted, namely, an inverted box-plait 
at the back. If there is a seam at the centre of the back the placket may be finished here 
by adding an underlap as described for some of the 
later plackets; or, as shown at No. 15, the seam may 
be joined to the top of the skirt and after the plaits 
are properly laid, an opening cut at the crease of 
the under box-plait. This is bound on both edges 
with ribbon. The folded edge of each plait is 
stitched, that on the left-hand side through all thick¬ 
nesses of the skirt, with the stitching on both edges 
tapering to a point; this is shown in the illustration. 

The hooks and eyes are placed at even distances 
apart and in such a position that when the lower 
one is closed the stitching of the plaits will form a 
decided and perfect point. The placket, however, is 
opened below this point and should be held in posi- 
- tion on the edge by either hooks or patent fasteners 
(the latter in this illustration). This also relieves the 
strain on the hooks. 

Apropos of the length of plackets, the opening should be only as long as is necessary to 
carry the skirt easily over the hips without strain or tear. The shorter the placket the better, 
provided it is not too short to permit the skirt being put on and off easily; from ten to twelve 
inches, according to the hip measure, is the usual length. 

The method of finishing the placket of a gored skirt having strapped seams and closed 
at the back is shown at No. 16, an underlap being applied to the left-hand side. The strap or 
fold is stitched to the back gore on the right-hand side, while the remaining edge is turned 
over and the hooks applied just back of the edge, so that they will not be visible from the 
outside. A silk facing is slipped under the hooks and an extra facing is added to the edge 
of the back gore; although one facing may suffice. The patent fasteners are now added. It 



No. 16.—Placket Finish of Strapped Seam 















60 


DRESSMAKING, UP TO DATE 



will be observed that the hooks are very close together; this is essential since it is necessary to 
preserve the straight line of the strapping. Loops are made of twist in corresponding positions. 

An underlap is usually cut double and is one inch and a half wide when finished. Join 
this to the skirt by machine, taking off an even seam and observing great care at the bottom 
that the skirt seam does not pucker. Turn the seam over on the lap, turn in the remaining 
edge and hem or stitch over the joining seam. It is a good plan 
to allow the underlap to extend an inch or an inch and a half 
below the placket opening. Turn in the extension and the 
lower edge, and stitch; the latter may be continued on the 
fold of the lap if desired. The effect of the reverse side is 
pictured at No. 17. 

The habit-back skirt must be finished at the placket even 
more carefully than any of the other designs. These closings 
must be made almost invisible, the seam being apparently con¬ 
tinuous, and there should be no gap at the placket. The most 
advisable method is as follows: 

After the centre seam is joined and pressed, leaving the 
opening for the placket, lay a facing of canvas one inch wide 
from top to bottom of the placket on the right-hand side. This 
gives the edge a firm body and admits of the hooks being 
sewed securely without catching through to the outside. Turn 
the edge of the material over this the width of the seam and 
cat-stitch and press. Now add the hooks even distances apart, 
at the same time close enough together to insure a perfect 
closing. About one inch apart is safe. Now face this, or 
turn in the edge of the lining, if there is one, and hem as pic¬ 
tured at No. 18. Mark for the eyes on the underlap to correspond with the hooks. Separate 
the rings of the eyes a trifle and slip them into position in the seam which joins the underlap 

to the skirt without break¬ 
ing the machine-stitching. 
These may now be sewed 
firmly to the lap on the 
wrong side. The eyes may 
be prettily finished by 
buttonhole stitching all 
around the portion which 
is visible, and the raw 
edges of the seam may be 
bound together. 

Sometimes the skirt 
is opened on the left- 
hand side of the front, in 
which case the seam is 
joined, allowing the depth 
of the placket at the top; 
this is regulated by the 
size of the hips. 

If an extension lap is 

t , , . ., , , , desired on the outside of a 

front closing, the underlap on the side gore is applied, as directed for that at No. 17. The- 

outside lap is cut the shape desired, either with straight lines or fanciful curves- if straight 
lines have been selected, a wide lap is cut and folded double; if curves—as seen at No 19 
—two Ians are cut and joined around the outline, leaving the straight edge open to be sewed 
to the skirt. This lap may be-machine-stitched and finished complete even to the buttonholes 
before it is applied. Join the straight edge of the lap to the front gore of the skirt on the line 
of the seam, fold the edges of the seam over on the lap, allowing the facing to cover the tin ng 
and hem down In the illustration the extension lap is turned down, showing the underiap 

Occasionally extensions are allowed on the front gore when cutting; these are lined and 

machine-stitched and rest upon the side gore, serving the same purpose as an applied lap and 
no underlap need be added, unless desired. w p 1U 



p ■■■, 


■■ 


No. 18.—Placket for Habit-Back Skirt 



No. 19.—Placket at Front Gore 
of Skirt 
































DRESSMAKING, UP TO DATE 


61 


APPLYING VELVETEEN OP BRAID BINDING 


The finishing of the bottom of a skirt is an important factor in dressmaking and one 
which necessitates the expenditure of as much care and skill as any other portion of the garment. 
Velveteen is much employed for binding, being regarded by many to be the most wear-resist¬ 
ing, although the different varieties of plain and brush braid are used by a large proportion. 
By a trial of each a person will soon be able to make a selection. Many consider the velveteen 
more suitable for silk and house dresses, preferring the braids and corduroy for wool and 





m 


street gowns. Costumes for evening or 
house wear are not of necessity com¬ 
pleted with a binding, but have what is 
known as a soft finish. The usual way 
of applying velveteen is as follows: 

After the hem or facing is finished, 
one edge of the velveteen is run to the 
lower edge of the skirt at the inside; 
lay the right side of the velveteen 
toward the skirt, beginning at the back, 
and allow the edge to lie on the skirt 
only a narrow seam’s width, the rest of 
the width of the velveteen extending 
below the bottom of the skirt. No. 20 
pictures the velveteen run on at the 
bottom of a skirt which has a hem 
turned up. Run this edge along with 
an occasional back-stitch, being careful 
to take the stitch into the hem or facing 
only and not through to the outside. 

If the worker is not accustomed to sewing on velveteen it 
is all-important that it should be properly basted before sewing, 
as it is likely either to stretch or slip. If it stretches, the bot¬ 
tom of the skirt will be puckered, and if it slips, before the end 
is reached, it will be found that the velveteen is entirely too 
short to encircle the skirt properly; consequently, in either case 
the result is a very careless and unskilful piece of work. 

Time is never saved in trying to do work of this kind too quickly, for it will certainly have 
to be ripped, and it is never agreeable to repeat a task or work with material that has been sewed 
.and then ripped, even if the material in question is perfectly new. 


No. 22.—Velveteen on 
Lined or Faced Skirt 


No. 21.—Correct Finish of Velveteen 


No. 20.—Velveteen Finish 
on Bottom of Skirt 


























62 


DRESSMAKING, UP TO DATE 




After this velveteen has been properly sewed on and neatly joined, turn the skirt on the 
right side; allow only an eighth of an inch of velveteen to extend beyond the bottom of the 
skirt and baste, as seen in No. 21. Many do not allow any of the velveteen to show beyond 
the edge, but this is usually carelessness; they intend to have it extend beyond, but neglect to 
baste it or else baste carelessly, and by the time the skirt is finished nothing is seen of the vel¬ 
veteen from the right side. This is wrong, 
for the velveteen is put on to protect the 
bottom of the skirt and should extend a trifle 
beyond. 

After the last basting, the velveteen fits 
flat on the wrong side and is very easily 
finished. Turn in the top edge of the vel¬ 
veteen and hem it to the facing. Tailors 
frequently do not turn in this top edge but 
cat-stitch across the raw edge to hold the 
velveteen to the skirt. They also cat-stitch 
the first edge instead of running it, but this 
method takes more time, and the other way 
is quite as 
secure. 

At No. 22 
is shown the 
method of ap¬ 
plying a vel¬ 
veteen to a 

No. 23-Braid Finish Ji n e d . sklrt - 

I he skirt is 

turned up and 

cat-stitched with the lining hemmed over, and the velveteen 
is added as described; this finish would be the same for a facing. 




No. 24.—Cable Cord Finish 

Another method is to cut off the bottom of the skirt half 
an inch beyond the basting or turning-line; place the velveteen 
right side down on the material and stitch after it has been 
properly basted; turn, allow the piping to show beyond, baste, 
and finish by hemming on the wrong side. When braid is 
used instead of velveteen, it should first be shrunk by dipping 
it in water until it is thoroughly wet; then press it until dry, turning one edge under abou 
one-quarter of an inch as it is pressed. Add to the bottom of the skirt by sewing at the turned 
under edge to the hem or facing, then hem down the top edge. The braid may be sewed on wit] 
the same two rows of sewing, but without turning under the one edge, but the doubled edg 
will wear better; this can be done only with the inch-wide braid. The method is show] 
at No. 23. 


No. 25.— Inside Finish of Flare 
Skirt 













DRESSMAKING, UP TO DATE 


63 


Occasionally a cable cord binding is added to the bottom of a skirt, and it may be made 
of the cloth or silk from which the costume has been developed. This is a particularly useful 
suggestion when it is difficult to match the color of the skirt in braid or velveteen. A heavy 
cable cord is encased in a bias strip of the material and basted as for ordinary cording; it 
is then stitched to the outside of the skirt through the basting which marks the length, with 
the facing joined in the same seam. Turn in the remaining edge of the facing and hem as 

shown at No. 24. A cording may be made with one 
edge of the material wider than the other and slip- 
stitched from the right side after the skirt has been 
turned up; the wide end is then hemmed over like 
velveteen. In rebinding a skirt this is an especially 
desirable method, as the tendency to shortening is 

frustrated by the added cord. 


FLARE SKIRTS 

The many-gored skirts that 
flare below the hip need special 
treatment in the finishing, to 
preserve the flare and make them 
hang in just the right way. This 
finish can be seen at No. 25. 
After the seams have been basted 
and stitched, it is advisable to 
try on the skirt and pin a tape 
around to determine the hip depth 
to which the flat seam shall ex¬ 
tend. At the same time the 
length of the skirt should be 
determined by pinning it up 
by marking it with chalk. Trace the line for the bottom of the skirt 
and also mark the skirt with a thread along the edge of the tape. At 



No. 26.—Inside Seam Finish 
for Flare Skirt 


No. 27.—Crinoline Interlining in Facing 


around the bottom or 
with a basting thread 
this point clip 
both raw edges 
of each seam 
at the inside of 
the skirt in or¬ 
der to divide 
the flat-finished 
hip part from 
the rippled 
part. Make this 
clip or cut ex¬ 
tend the full 
width of the 
seam edges, 
running in as 
far as the seam 
stitching. The 
seam above the 
clip is to be 
pressed open, 

ofnfcked 0 where necessary to make it lie flat. It may be finished with a row of .machine, 
stitching at each side of the seam and quite close to it, or both edges of the seam may be t 
the same way a row of stitching on the outside holding them in lap-seam effect. 

Mark up from the bottom edge the hem or facing depth (usually about three inches) an 
clip the seam in at this point; press this lower part of the seam open in older to 
it properly. The part of the seam between the two lengths of pressed-open seam is to be bound 



No. 28.—Facing Hemmed to Bottom 
of Skirt 


No. 29.—Seam Stitched Across Facing to 
Hold Flare Effect 













64 


DRESSMAKING, UP TO DATE 


as seen in No. 26, using a narrow bias strip of lining material for this purpose. This part of the 
seam is not to be pressed to either one side or the other, but stands out straight from the inside 
of the skirt, and gives a fluted effect to the breadths. Interline the bottom with crinoline, 
turn over the edge of the skirt and the crinoline together at the tracing line that indicates the 
bottom of the skirt, and baste the turned-over edges as shown at No. 27. Baste a bias facing 
in place, then hem the lower edge to the turned-over edge of the skirt, as seen at No. 28. 
The upper edge may be hemmed by hand or may have one or two rows of machine-stitching 
to correspond with the stitching on the upper part of the seams. The skirt should now be 
folded at each seam and placed in the machine in the same way as when the breadths were 
first stitched together, and a row of stitching (shown at No. 29) made along the bound part of 
the seam close to the first row and extending across the facing, forming that into a small seam. 
If the skirt is hemmed or if the facing is of the cloth, the upper edge may be bound with a bias 
strip of lining, and the stitching along the top of the hem or facing made through that to 
avoid the extra thickness of a turned-in edge of the cloth. 


SUPPORTING PLAITS INLAID AT SEAMS 



Gored skirts that have a side plait or an inverted box-plait let into the seams some 
distance up from the bottom are sometimes troub esome through a tendency of these inlet 
plaits to show below the bottom edge of the skirt as there is nothing to which to attach 
them. This trouble may be avoided in the manner seen at No. 30. The top of each of these 
plaits is bound, and after the skirt is otherwise finished, a tape or a strap of lining is sewed 
to the top of each plait and is carried from one to the next all around the inside of the skirt- 
this will generally be found to be enough, but in a winter skirt of heavy cloth a short tape or 

strap may run diagonally from the 
top of each plait to the next seam 
and be securely sewed there to the 
wrong side; this also is shown in 
the illustration. 


PLAITED SKIRTS 
AND THEIR CORRECT 
ADJUSTMENT 


Plaited skirts are always charm¬ 
ing and while fashion decrees that 
one season they will be more popu¬ 
lar than another, it is imperative 
for the worker to understand their 
proper construction, so as to meet 


No. 30.— Supporting Inlaid Plaits the difficulties presented in different 

designs. These include side-plaited 
. . skirts and box-plaited skirts, skirts 

plaited m clusters and those of single plaits with more or less space between. While all are 
admired v hen well made, it is possible, without sufficient knowledge, to make these skirts 
very incorrectly. 

In cases where the skirts are composed of seven or nine gores the effort at proper adjust¬ 
ment is not so great, since alterations may be made at the seams, but in skirts where few gores 
are employed particular attention must be paid to the correct position of the lines thereby 
insuring the symmetry of the plaits. Furthermore, the skirt must be correctly joined to the 
belt and the material between the plaits properly disposed, so that the plaits themselves will 
have a uniform appearance. 

To make the skirt, first read the directions on the label carefully, examining the pattern 
at the same time and identifying the pieces and the notches and perforations according to the 
directions. Fold one end of the cloth lengthwise, exactly through the centre. Lay the nattern 
of the front breadth on the material with its front edge even with the fold, and pin the pattern 



DRESSMAKING, UP TO DATE 


65 




in place. . If the material is narrow, it will be necessary to piece the lower part of this breadth 
at each side, but this need not be done until after the rest of the skirt is cut, as some of the 
pieces cut from the side gores will probably be large enough for this purpose. Lay out all the 
breadths before beginning to cut, to be sure that the pattern is arranged in the correct and most 
economical manner. Single width material should be laid out straight for all breadths except 
the front. It may be folded across at half its length, or cut in two and reversed (if it has a 
nap), to cut double. After all the breadths 
are cut, before removing the pattern, mark 
each perforation that indicates the plaits, 
also the single perforations near the bottom 
of the skirt whh a small chalk mark or by 
sticking a pin through both thicknesses of 
cloth, at the centre of each perforation. 

Remove the pattern and place a yard¬ 
stick on the cloth with its edge even with 


No. 31.—Front Breadth Traced for the Plaits 

each pin or chalk 
mark, and draw 
a continuous line 
with chalk. Go 
over this line with 
tailors* tacks and 
mark each breadth 
in this way; the 
plaits outlined as 
described are 
shown at No. 31. 

The long threads should be cut, the pieces separated, 
and the breadths joined at the seams. In sewing a bias 
edge, it is essential that it be not stretched. It is better 
to handle the extreme edge as little as possible; lay the 
piece of material straight over the one to which it is 
to be joined and pin the seam at the top; then straighten 
the breadths by smoothing both down and across with 
the thread of the fabric. This will bring the bias edge 
into its true position, and it should then be pinned 
along at intervals and afterward basted in a three- 
eighths-inch seam. The manner of preparing and bast¬ 
ing this seam is shown at No. 32. No. 33.—Basting the Plaits in Tucks 

After all the seams are joined (except the back 
seam, which is not basted until the plaits are all laid and the skirt is ready to try on) begin at 
the front breadth and bring the lines of tracings at each side of the centre front together and 
baste a seam; this forms a large tuck. The next two rows of tracing are then basted 
together to form a second tuck. Continue in this way around each side of the skirt. Each 
- seam corresponds to a row of tracings and is to be basted to the line formed at the perfo- 


No. 32.—Basting a Bias Edge to a 
Straight One 


























66 


DRESSMAKING, UP TO DATE 


rations on the breadth toward the front- After the plaits are basted into tucks, each one is 
flattened to form a box-plait, bringing the seam in the centre on the wrong side; the way of 
forming the plaits is shown at No. 33. 

Care must be taken to get the box-plaits even, without any draw, as some of the edges 
come bias. As each one is flattened, it should be basted a quarter of an inch from the fold 
edge, as shown at No. 34, to keep the shape. This will be found a great convenience later. 

The skirt is now ready to try on. Draw it up well to reach the waist all around, and pin 
it to the petticoat at the hip-line, then from the 
hip up, lay each box-plait in a symmetrical line. 

The basted seam at the centre of each box-plait 
can be ripped as far as the hip-line and the waist 
adjusted to the correct size. The bastings at the 
edges of the box-plaits will hold the plaits in 
place so that their size cannot be interfered 
with. They may be brought closer together to 
make the waist smaller or spread farther apart to 
make it larger. 

The edges of the box-plaits should be pinned 
in correct position at the fitting, and when the 
skirt is taken off, they should be basted a pin¬ 
ned; the skirt can then be turned to the wrong 
side and the ripped seams can be readjusted. 

When this has been done, trace on the skirt where 
the edge of each plait, on which alteration has been 
made, comes. Then remove the bastings that 
hold them to the skirt, that the under seam may be 
stitched. The plaits are to be basted to the skirt 
again according to the tracings made after the 
fitting, and as far down as they are to be stitched. 

It would be advisable to rip open the back seam (it 

is still basted, 
not stitched), 
as the skirt can 
be more easily 

handled under the machine if it is opened out flat. Stitch 
the plaits down through both plait and skirt to the desired 
depth; then baste and stitch the back seam, apply the belt, 
press the plaits in place to the bottom of the skirt and try 
it on again to secure the correct length. Finish the hem, 
placket and belt in the usual way. 

When a box-plaited skirt is correctly adjusted on the 
belt, it will be noted that the space between the plaits over 
the hips is wider than at the belt; this is necessitated by 
the decrease in size, and where seams are provided under 
the plaits the superfluous material may be fitted in. Where 
there is no seam, however, the fulness which occurs must 
be disposed invisibly under the plaits; if this fulness be 
not too great, the material may be held a trifle easy or, 
one might say, pucker or pushed toward the line of stitch¬ 
ing. To present a thoroughly workmanlike appearance this fulness must be hidden; there¬ 
fore, the plaits in this instance are very convenient for the purpose. 

Notwithstanding the fact that it is possible to place all the surplus material under one 
plait, this should not be done, as it would throw the others out of position; moreover, there 
must be a uniformity of space between the plaits. Where the figure is disproportionate 
that is, very large around the hips and small at the waist, the quantity of surplus material is 
increased. While a small amount may be held easy as directed and, after careful pressing, be 
unobservable, a larger quantity would be too bulky and is best treated differently, as follows: 

After the plaits are laid the full length of the skirt and the latter is being fitted, side- 
plaits or darts are best employed for adjusting the material to a small w^aist. No. 35 shows 
the method of placing these. If a dart, it is sewed up in a position that will be well under the 



No. 35.—Arrangement of Dart 
under Plait 



No. 34.—The Box-Plaits Ready for Fitting 













DRESSMAKING, UP TO DATE 


67 




plait so that there will be no likelihood of its being seen. Even if folded over, the upper 
edges of the box-plait should not be disturbed, for this would disarrange the size and width 
on the outside, ihe material near the stitching is folded over one-eighth or one-quarter of 
an inch to form a dart-like tuck, and these new lines are joined or folded in such a way that 
tney taper gradually into the line of the original plait just above the full part of the hips as 
seen m the illustration. This may now be pressed flat, and the extra fold will not be objec¬ 
tionable. Treat in this manner where required, and keep the spaces between of equal width. 

A skirt made in side plaits or kilts is repre¬ 
sented at No. 36. The manner of preparing the 
skirt and marking the perforations that indicate 
the plaits is the same as that already described. 
At each line of tracing thread that represents 
the fold of a plait, it should be folded with the 
tracing thread as an edge, and the doubled goods 
should be basted through one-quarter of an inch 
back of the edge. This will hold all the plaits to 
the correct size no matter what alteration may 
be necessary in fitting. Many plaited models 
have one row of stitching placed just back of the 
folded edge, and through the two thicknesses 
only in the same way as the basting just described. 
This row of stitching answers a double purpose; 
it is ornamental and at the same time holds the 
edge of the plait in shape, and is especially 
desirable for wash goods or a thin woolen mate¬ 
rial that is likely to twist on a bias edge. The 
second row of stitching is placed a spaced dis- 
No. 36.—Side Plaits with Two Rows of Stitching tance back of the first and is taken through 

both plait and skirt. Stitch through to the 
desired depth and leave the ends of the thread two or three inches long at the lower finish 
of the stitching, that they may be drawn through to the wrong side and tied securely. 

When a plaited skirt is made of heavy material or is lapped very much at the waist 
in fitting, it may be made less bulky by cutting away the surplus material after the plaits are 
stitched. The underlapping goods 
is cut away to within an inch or so 
of where the stitching finishes; 
thence it is cut across the top of 
the plait. The raw edges left in 
this way are to be bound with a 
bias strip of lining, that will finish 
across the top of each plait except 
where the seams that join the 
breadths form the inner fold of a 
plait, when the binding will con¬ 
tinue down the raw edges of that 
seam to the bottom of the skirt. 

This method may be seen at No 37. 

As each figure has some trifling No. 37.—Inside Finish of a Kilted Skirt 

peculiarity, a little study should 

be given the label on the pattern selected and judgment displayed as to the best means of 
alteration or adjustment. It must always be remembered, however, that the tucks or plaits 
must be evenly arranged and that the space between them must be the same, as this is quite 
as important as that the plaits should be folded evenly in the beginning. 

When a plaited skirt is made of a washable material, the laundering is not a difficult matter 
if one knows the correct way. The lower part of the skirt should not be pressed out flat, but 
(ach plait as it is pressed at the stitched upper portion should be laid in position all the way 
to the bottom of the skirt, smoothed and arranged with the hand and pressed into position. 
Afterward the iron may be run under the plait to smooth the underneath part. This is the 
same method that is employed in pressing a similar skirt made of cloth, and it is at this time that 
the value of shrinking the material before cutting and of observing the “grain” is realized. 





68 


DRESSMAKING, UP TO DATE 


LINED SKIRTS 




Lined skirts usually require some stiffening in the bottom to permit the skirt to fall in 
the proper folds and hold it out well from the feet. At certain times there are designs which 
are most desirable made with a lining throughout, and these must, perforce, have an inter¬ 
lining of haircloth or canvas at the lower edge. Different designs and styles require greater 
or less quantity, and one season may demand very stiff effects, while the following season 
clinging modes are au fait. 

The method which is considered the best for making a lined skirt is the following: The 
lining and material are cut exactly alike, but stitched separately, then pressed and the inter¬ 
lining applied to the lining. Haircloth, linen can¬ 
vas and crinoline are the principal materials 
employed for stiffening and from six to ten inches 
is a good depth, but the latter is more generally 
advised, for by the time the skirt is finished it is 
always somewhat less in consequence of turning 
up at the bottom, trimming off, and shaping to the 
lower edge of the skirt. 

All haircloth and linen canvas must be shrunk 
before putting it in the skirt and to prepare the 
former the projecting hairs must be cut off both 
sides. The shrinking may be done according to 
the directions given for shrinking material, or by 
the following method: 

Place the haircloth on the press-board with 
a cloth underneath, lest the dye should come 
through, and with a large sponge, which has been 
dipped in water, wet thoroughly about half a yard 
at a time, rubbing in one direction. The iron 
must be very hot and the haircloth pressed until 
perfectly dry. When preparing the work in the 
beginning the haircloth may be shrunk before cutting the skirt and in this way will be ready 
whenever required. The haircloth is now cut across the width (from selvage to selvage) in 
strips ten inches deep. Fit these 
around the bottom of the lining 
skirt on the wrong side, pinning 
through and shaping where neces¬ 
sary, as pictured in No. 38, though 
not necessarily cutting at each 
seam. Join flat with small run¬ 
ning stitches. 

Remove the haircloth from 
the lining and strap the joinings 
by covering the raw edge with 
a strip of lining one inch wide. 

Do not turn the edges in, but 
stitch by machine as near the 
raw edge as possible. (No. 39.) 

Now baste the haircloth to the 
wrong side of the lining and bind 
the top by placing half the strip 
of percaline on one side and half 
on the other, turning over no 
edges whatever. Stitch this all 
around the top through both lining and haircloth--the method being shown at No 39 

Linen canvas is shrunk and fitted in the same manner; however, it is not necessary to 
strap the top and joinings, as there are no sharp hairs to thrust through the material 


No. 38—haircloth Fitted to Skirt 


No. 39. Fitted Haircloth Bound 










DRESSMAKING, UP TO DATE 


69 



No. 40.—Finish of Band Flounce 


Allow the skirts to remain wrong side out and join together by placing the front gore of the 
lining over the front gore of the material, with the corresponding seams touching each other. 
Beginning at the top, run the edges of the seams together—the left-hand edge of the material 
to the left-hand edge of the lining—using a small basting stitch and ending just above the 
haircloth. Each seam of the material is tacked to its corresponding seam in the lining, until 
all are joined together and one skirt is the result. If care has been exercised in the beginning 
by cutting both material and lining precisely the same size, with seams stitched the same 
width, there will be no difficulty in fitting the skirts together. 

Next finish the placket by separating the material from the lining on the right-hand side; 
place a piece of crinoline along the edge, turn the material over on the sewing line, sew the 
hooks on firmly, then crease the lining in the opposite direction also on the sewing line, slip it 
under the bills of the hooks and hem. The left-hand side is finished with a lap which is an 
inch and a half wide when finished. Full instructions for making plackets of various kinds 
will be found in this chapter under “ Plackets,” any of those described, which are approprate, 
may be substituted, if desired. Baste the belt in position and finish as previously directed. 

Many prefer the old-fashioned way of basting the lining on the material and sewing all 
together in one seam. This is sometimes a desirable way for lining thin materials or those of 
open weave, when the edges of the seams 
would show through. With a tracing-wheel 
mark -the necessary seams on the lining. 

Many complain that, try as they will, the 
material always hangs loose after the skirt has 
been finished. The best way to avoid this is 
to pin the material to the table and baste the 
lining upon it. 

Before doing this the haircloth or crinoline- 
is basted to each piece of the lining on the 
wrong side; and where joined, the former is 
covered with a strip of percaline, also bound 
on the top, as directed for other lined skirts. 

Pin the material to the table right side down, placing the pins an inch or two apart. Pin 
the top of the gore first, then rub down, stretching slightly, and pin the bottom, being careful 
to stretch only on the straight of the goods; pin the sides down without changing the position 
or shape of the gore. Baste each piece of lining through the tracings to the cloth, but do not 
catch in the haircloth. 

Those who are more accustomed to the work may place the material on top of the lining, 
and baste from the top, rubbing the material down while basting, so that in either case the lining 
will be a little full on the material. This prevents the sagging, which is so objectionable. 

Before basting, the seams must be carefully pinned together through the tracing lines, 
then basted from the top to the bottom. Do not include the haircloth in the seams, but after 
the latter are stitched and pressed open the haircloth is lapped and may be caught to the seams; 
finish the seam edges with binding ribbon* or overcast. After measuring the length, the bottom 
is finished with a facing disposed in either of two ways. The skirt may be turned up and 
cat-stitched as explained for preparing the skirt for velveteen, and the facing hemmed top 

and ^ttom^ d . g ^ foUowg; After being certain that the skirt is measured off the correct 

length trim away all the surplus material beyond the tracing, allowing simply half an inch 
for a seam; now place the right side of the facing against the right side of the skirt and stitc 1 
by machine through the tracing for the length. Turn the facing over and baste along the edge; 
turn in the opposite edge of the facing and hem down to the lining. If a velveteen be desired, 

it is added by hand according to the method explained. . 

The lining may be basted (without the interlining) to the gores, the skirt stitched and presse 
and the facing cut to fit the bottom of the skirt. Cut and fit the interlining to the facing, t loug 1 
not quite so deep, and stitch through both near the top. Now adjust this to the skirt. 

Skirts with circular and band flounces may be completed m several ways. Band flounces 
are unlined, and are finished with a facing of bias silk or self-material. (No. 40.) The upper 
•edge is nicked, turned over once, and may have one, or possibly two rows of stitching thioug 
to the skirt- or it may be sewed to the skirt to be embellished with taffeta bands or folds, or 
one of the fashionable trimmings. A circular flounce may be added to lengthen an upper 
skirt portion, or several may be applied to a full-length skirt for ornamentation. 




Novel, Artistic 


Seams 


T HE embellishment of seams of skirts, coats or other garments has become an important 
matter in the sartorial world, and these exhibit decorative features which were unheard 
of a few years ago. 

In many instances the seams of a garment are joined in the ordinary way, with deco¬ 
ration applied later; but great care must be exercised to retain the symmetry of the lines. When 

making a garment or costume any of the 
seams illustrated may be chosen which 
are appropriate for the material and 
design; however, it should be remem¬ 
bered when making a coat and skirt suit 
that the same finish selected for the skirt 
should be carried out in the coat as well. 

The first illustration pictures an or¬ 
dinary seam stitched, pressed open, then 
stitched again with one row of orna¬ 
mental stitching on one side of the seam. 
No. 2 shows a similar finish, but both 
sides of the seam are ornamented with 



rnmm 

V 



No. 1.—Stitching on One 
Side of Seam 


No. 2.—Stitching Both 
Sides of Seam 


' J 1 f * 



! 

I 

> ' f 

No. 3.—Broad Seam Stitched 


mm 



stitching. In No. 3 the seams should neces¬ 
sarily be cut wider, so that after working 
as directed for No. 2 an additional stitch¬ 
ing may be added on each side, half an inch 
from the centre or original seam. 

What is known as the cord seam is 
shown at No. 4. The seam turnings are 
both pressed to one side and an ornamen¬ 
tal stitching added on the right side, far 
enough from the seam to form a raised 
edge, simulating a cording as shown. 

The welt seam appears at No. 5. This is cut 
with wide seam-turnings and after being stitched 
is pressed to one side. The ornamental stitching is 
placed from one-quarter to three-eighths of an inch 
from the seam. After stitching, however, the edge 
of the upper seam may be cut back to this stitching, 
as shown in the illustration, so that when the final 
pressing is given too many thicknesses are not ob¬ 
servable. 

The double-stitched welt is portrayed at No. 

6. This is made precisely like No. 5, but the first 
row of stitching is augmented by a second, forming 
the cord welt. Another welt seam is illustrated at 
No. 7 and is known as the open welt. This is stitched 
in a regular seam, but instead of being pressed on 
this seam, the material is folded over one-half an 
inch beyond the stitching. The ornamental stitch¬ 
ing is then worked one-quarter of an inch from the 

edge, or more if desired. Furthermore, this differs from the others, inasmuch as the edge is 
not stitched flat but allowed to rest unrestrained, resembling a tuck. Press very flat. 

The finished effect of the double-stitched slot-seam is shown at No. 8; it is easily made by 
joining the seams as for a plain finish. This must be done with a fine basting thread or sewing 

70 



No. 4.—Cord Seam 







DRESSMAKING, UP TO DATE 


71 


silk and the seam pressed without being stitched. An understrip of the material is cut an inch 
and one-quarter wide and placed directly over the centre of the seam at the back; this is stitched 
to the garment from the right side, three-eighths of an inch each side of the seam. The basting 
is then removed. The pressed edges are now free; raise them from the understrip, so as to fa¬ 
cilitate the work and stitch each edge. A final pressing is given to the seam. 

If preferred, a single-stitched slot seam may be executed by following these directions 




No. 5.—Welt Searn 


No. 6.—Double-Stitched Welt 



No. 7.—Open Welt 


with the exception of the final stitching on the edges. 

No. 9 pictures the reverse side of the work in the case 
of either the single or double stitched slot, the stitch- 
ings visible in this cut being those which secure the 
understrip to the forms. 

For the strap seam wide turnings are allowed, and 
the seam is stitched and pressed. The strap, as shown 
at No. 10, is usually five-eighths of an inch wide when 
finished, and the centre is placed directly over the seam. 

The wide turnings underneath extend beyond the 
stitchings of the strap; in this way the thickness is de¬ 
creased gradually. In almost all seams of this chaiac- 
ter, where it is allowable, the thickness should graduate, 
and where opportunity permits, as shown at No. 6 or 7, 
the edge of the centre material is cut away, so as not to 
be on a line 
with the 
other edges. 

Straps 
way be made 
on the length 
of the mate¬ 
rial, from the 
pieces which 
are left in 
cutting the 
garment, 
but experi- 

proved tYat there is always a best way, and just as straps of silk should be cut.bias of the 
material, so cloth straps work best when cut across the width or selvage* ofthe 8°°^ 

For a strap five-eighths of an inch wide cut as many strips of cloth as will be required, each 
one inch and one-quarter wide. Join them and press the seams open,, but when basting the 
straps on‘the seams of the coat or skirt, avoid bringing any of these joining in a prominent 



No. 8.—Slot Seam 


No. 9.—Reverse Side of Slot Seam 


























72 


DRESSMAKING, UP TO DATE 


place; if necessary it will be better to waste a few inches and discard the piece with the seam in it. 

Another method of making the strap is to fold the strip of cloth evenly through the centre, 
lengthwise, right side out and overhand the two raw edges together with coarse but even 
stitches. Flatten it out with the row of overhanding in the middle of the strap and press it 
well on the wrong side. Baste the strap over the seam and stitch one-eighth of an inch from 
each edge through both strap and garment. 

An imitation strap seam is made by lapping the material as much as desired, then turning 
in the edge on both right and wrong side and stitching flat. This provides an equally desirable 
finish on both sides and is much employed in coats, and skirts which are unlined. The detail 
is pictured at No. 11. 

A bound open-welt seam is showm at No. 12. This is made by binding the raw edge of the 




No. 12.—Bound Open-Welt 
Seam 


No. 13.—Raw-Edge Lapped Seam 



seam wu a grosgram ribbon, which may be purchased for this purpose at a tailors’ findings shop. 
The seam is lapped well over the opposite form and stitched as near the cording of the ribbon 
as possible. This seam produces no apparent thickness. 

The raw-edge lapped seam is pictured at No. 13. This is intended solely for very heavv 
materials which will in no likelihood fray. The raw edges are lapped three-quarters of an inch 
and the stitching placed directly on the edge. If the garment is lined, it is not necessary 

to have the second row directly on the under edge; this may be placed somewhat back, as shown 
in the illustration. ’ 




















Wedding and Evening Gowns 

T HE bridal gown may be of silk or satin, or, in fact, any of the fashionable materials 
which are appropriate. Chiffon or cr§pe de Chine are beautifully soft and graceful, 
and a lace gown is charming and effective in the extreme; China silk and taffeta are 
also appropriate and, perhaps, less expensive. For a youthful bride, organdy and 
similar materials are frequently chosen. 

An evening dress may be high or low in the neck, as the wearer prefers, but a wedding 
gown must be high in the neck with long sleeves, although elbow sleeves are permissible with 
long gloves. If made with a yoke of lace attached to 
a guimpe, it may be detached, and the dress will after¬ 
ward undergo easy transition and be serviceable as a 
dinner or evening gown. 

Taffeta or other silk should form the foundation 
or lining, but if organdy is chosen a lace-trimmed lawn 
may serve for the slip for both skirt and waist. In 
our book, "Weddings and Wedding Anniversaries/’ 
will be found several chapters relating to the bridal 
gown and a bride’s trousseau, as well as full details 
for a properly conducted wedding and all necessary 
points on wedding etiquette. The price of this book 
is 25 cents. 

Handwork is used extensively upon wedding and 
evening gowns and laces play an important part. 

The decoration may be as elaborate as one’s taste and 
purse dictate. Sometimes yards and yards of hand¬ 
some lace are used, forming a draped flounce around 
the bottom, or incrustations of motifs or separate 
medallions are preferred. Always choose the very 
newest effect, since it is better to be a little in advance 
of the prevailing mode than even a trifle behind in this 
regard. 

The foundation or lining skirts supplied with the 
patterns are usually in five or seven gores, and the 
material of which they are made depends in a great 
measure upon the material selected for the gown 
itself. If this is chiffon, net or any extremely trans¬ 
parent stuff a silk lining is imperative, and a soft, 
lustrous Liberty satin gives a shimmering effect that 
no other lining can quite equal. A good lining taffeta, 
however, is always a reliable selection. 

Measure the patterns and make any necessary 
alterations before cutting. Cut the lining by the 
special pattern for the lining, observing the directions on the label, and cut both waist and 
skirt at the same time; it is more economical. Fold the two ends of the lining together so that 
it will be double, and cut as previously directed, marking all perforations and indicating marks. 



No. 1.—Notched Seam Before and After 
Binding 


THE WAIST 


The place of closing the waist lining, whether in the front or in the back, will generally be 
found to have an extra allowance for hemming under; the hem or closing line is usually 
indicated by a notch in the pattern at the neck and another at the bottom. Fold a line from 
one of these notches to the other, making the hem of equal width all the way, and with a thread 

73 






74 


DRESSMAKING, UP TO DATE 


of different color from the lining run a basting along the edge of the fold. This will later be 
turned over for the closing as shown at No. 1. Many wedding and evening gowns are now 
made to fasten in the back, so it is at these edges, instead of the front, that the turning 
under is left; otherwise the treatment is the same. 

The fronts may be reinforced with an extra piece of lining, as explained in the chapter 
“Draped Waists/’ the effect being pictured at No. 2. 

Baste up the lining and try it on, with the folds of the hems together or lapped, as directed 
in the label; be careful to pin it close and evenly at the closing edge. Make alterations, if any 
are needed. Stitch the seams and remove the bastings. Nick each seam (while still doubled) 
at the waist-line and above and below it, as many times as necessary to make the seams lie 



No. 2.—Reinforced Front and Manner of Attaching Inside Belt 


flat when opened; trim them off even and pink them, overcast them, or, preferably, bind them 
with the taffeta binding ribbon which is sold for this purpose. (No. 1.) After the seams 
are bound press them open. 

It will rarely be found necessary to make any alteration on the seam at the centre front 
or the darts, and under no circumstances should the seam at the centre back be changed. 
Place a bias strip of crinoline, two and one-half inches wide, and folded lengthwise through’the 
centre, on the inside of the lining, with its fold at the tracing thread which marks the closing. 
Turn the taffeta over the crinoline at the tracing and baste; then stitch with one row of stitch¬ 
ing an eighth of an inch back from the edsre, and another row, the width of a whalebone (at out 
three-eighths of an inch), inside of that. This is plainly seen at No. 1. 

Run on the bone casing a little full, turning over the top as shown at No. 3. 

The seams are now boned according to the directions given in the chapter “Draped 
Waists.” Sew on the hooks and eyes as directed in the chapter referred to, and place" the 
belt tape in the front; tack it to the centre seam, also to the last dart on each side. Baste 









DRESSMAKING, UP TO DATE 


75 


an inch-wide bias strip of crinoline around the bottom of the waist on the inside; turn the 
edge of the waist under just a seam’s width (three-eighths of an inch), cut a bias strip of lining 
silk one inch and one-quarter wide, turn under one edge and hem it down as a facing on the 
turned-under seam of the bottom of the waist; then turn under its other edge and hem it neatly 
to the waist. 

To give the required bouffant effect at the front of the finished waist, a double ruffle of 
chiffon, reaching from just above the bust, if the gown is to be high neck, if not, to start from 

the edge of the low neck and reaching to below the waist¬ 
line, must be shirred across its top and basted through this 
shirring to the. lining. 

Two or three taffeta ruffles, pinked, are frequently 
placed in the same position, but not extending so low. 
These ruffles are best applied after the lining is placed upon 
the padded bust form, for the exact position can be better 
determined. Cut the material for the outside and drape it 
on the form according to the design selected. 

When the skirt is worn outside of the waist the lower 
part of the waist drapery need not be turned under at the 
bottom of the waist, if for any reason this is not desirable. 
It may, instead, be sewed securely to the lining just below 
the waist-line, and the raw edge covered with a piece of seam 
binding laid on flat and sewed on both its edges. (No. 4.) 

If an evening gown has a low neck, after placing on 
bertha or collar (if it has such effect) according to the direc¬ 
tions on the label of the pattern, turn in a seam at the top of 
the bodice—includingthe top edge of the bertha, the lining and 
outside—baste in place, then hem on it a facing of bias silk, 
as the bottom of waist lining was finished, but three-quarters 
of an inch wide, and be careful when hemming down the 
lower edge to catch through the lining only. Use this facing 
as a casing through 
which to run a narrow 
ribbon, which is to be 
tied when the waist is 
worn, in order to hold 
it snug to the neck. 

For a wedding gown 
with a lace yoke the 
latter should be fitted 
and basted in the top of 
the waist before the 
facing is applied; the finishing may be carried out in the 
manner directed. Line the yoke with one or more layers of 
chiffon to soften the effect over the skin. If preferred, a 
separate guimpe may be made; this is easily removed. 

A transparent collar should have a lining of two 
thicknesses of thin chiffon. The first layer of chiffon should be turned over toward the worker, 
a seam all around, and basted, and the second row should be turned under a seam at its top 
edge and run fast to the lace. The lace nnd first lining of chiffon turn ovei on the left end 
of the collar, and the second lining of chiffon turns under and is run fast to it; the hooks— 
very small ones—are to be sewed on this end of the collar. Out a piece oi collai bone the 
proper length; it should be cut one inch longer than the height of the collar in order that the 
woven covering may be slipped back at each end and half an inch of the bone cut off. Ihav 
the covering over the end and turn it back and fasten it; this secures the end of the feathei 
bone. It is then placed at the right end of the collar a seam distant from the edge, the lace 
and its first lining are turned over it and the second lining is turned under and run to it. 
It is not necessarv to place one at the left end, as when the collar is hooked the one bone 
will support both ends. Buttonholed loops to correspond with the hooks are worked on the 
outside at this end. When the waist fastens at the back, as is usual now for fancy waists, if 
the hooks are alternated with the eyes at the back fastening, be sure that the top hook is on 



No. 4.—Waist Drapery Sewed to the 
Lining 



No. 3.—Applying Bone Casing 




76 


DRESSMAKING, UP TO DATE 


the same side of the waist as the hooks of the collar—the left—so there may he no difficulty 
with the closing of the collar. Place a piece of collar bone each side of the centre front of the 
collar, and if desired one at each side, between this and the back. 

Baste the seams of the sleeves, try them on, and if they are too large or too small around, 
make the alteration in the seam marked with the large perforations. Stitch the seams and 
finish as directed. Sew the sleeves in the armholes according to perforations, then overcast 
these seams, armhole and sleeve together, with buttonhole twist or bind with ribbon. A sleeve 
of elbow length may perhaps be chosen, and complete directions for making each style are given 
when the pattern provides for more than one. 


THE SKIRT 


Baste the breadths of the foundation or lining skirt according to the notches and arrange 
the back according to directions in the label of the pattern. 

Try on the lining and make any al¬ 
terations it may need at the waist or hip; 
pin a piece of tape around at the natural 
waist-line and pin the placket together at 
the exact centre of the back. Be careful 
not to make the skirt too tight around 
the hips, otherwise, when you sit, it will 
wrinkle and pull up from the feet. Baste 
the alterations in the seams and baste the 
tape which is pinned around the waist. 
Mark the length around the bottom by 
turning up if it is too long; be very care¬ 
ful to have it long enough across the front. 
See this in a glass, and stand naturally. 
It is customary for a wedding or r’ere- 
monial gown to lie on the floor at least one 
inch across the front. This may be a little 
uncomfortable for walking, but if it can be 
managed it makes a much more graceful 
skirt. At all events, have it a little more 
than touch, as nothing looks more ungainly 
than a trained skirt which apparently 
“hitches up” in the front. If the outer 
skirt is made of transparent material the 
lining must be the same length, but for the 
wedding gown of satin or silk the lining is 
in short train length and the train of the 
gown is lined separately and faced w T ith 
self-material. This facing is often further 
decorated with tiny frills of chiffon or silk 
at the lower edge. 

A rather elaborate lining is desirable 
for a wedding gown, and this may be made 
by placing an accordion-plaiting around the 
bottom of the foundation skirt. This plait¬ 
ing should be twelve to fifteen inches deep, 
but, if economy of material be sought, it 
may be made narrower. The manner of 
attaching this plaiting to the skirt is shown 
at No. 5. 

The foundation skirt may be cut two or three inches shorter than the actually required 
length, and this length may be supplied for the purpose of fitting by adding a piece of cambric 
at the bottom of the skirt. 











DRESSMAKING, UP TO DATE 


77 


The accordion-plaiting should have a narrow hem on one edge before being sent to be 
plaited, and should measure at least three times the width of the foundation skirt. 

After it is plaited measure the ruffle into quarters; place a colored thread as a mark at 
each quarter, and shirr the unhemmed edge. Measure the skirt into quarters and mark in the 
same way. Mark up from the correct length for the bottom of the skirt three-quarters of an 

inch less than the depth of the finished accordion- 
plaiting, and continue this mark all around the 
skirt with a colored thread. 

Place the plaiting on the skirt with its right 
side toward the right side of the skirt, the shirred 
edge toward the bottom of the skirt and the edge 
of the plaiting even with the mark which was made 
around the bottom of the skirt. Baste the plaiting 
in this position; regulate the fulness by placing the 
quarter marks of the plaiting on the quarter marks 
of the skirt and distribute the shirring evenly all 
around. Stitch the seam and remove the basting, then turn over the plaiting and baste 
and afterward stitch it down on the right side through both plaiting and skirt. There will 
now be left some of the foundation skirt beneath 
the plaiting; the edge of this may have a narrow 
hem or may be pinked. A bias ruffle five and one- 
half inches wide should be pinked on both edges, 
shirred one inch from the upper edge and placed on 
the foundation skirt to make that the same length 
as the plaiting. A ruching should be cut in bias 
strips two inches wide, pinked on each edge, and 
either plaited or shirred through the centre and 
sewed to the hemmed edge of the accordion-plaiting. 

Over the silk plaiting may be placed an accor¬ 
dion-plaiting of chiffon of the same depth. A nar¬ 
row ruche should be placed on the edge of this 
plaiting also. Cut straight across the chiffon (draw 
a thread to keep it straight) as many strips, each 
two inches wide, as are required, and join with 
seams. Fold one edge over one-quarter of an inch, bring the other edge to the centre of the 
strip and fold the edge over it which has been turned under. This brings both edges to the 
centre, the one 
with a turned- 
under seam on 
top, so that no 
raw edge is left; 
it is then shirr¬ 
ed through the 
centre and 
forms the ruche 
shown at No. 6. 

Another finish 
is called a puff- 
ruffle, and may 
be used in 
place of the 
deep chiffon 
plaiting. It is 
made from 

chiffon cut across the width to measure two inches more than twice the depth of the silk 
plaiting; a narrow seam is turned over at one edge, the other edge is folded up to within 
one inch and one-half of the top, and the folded edge is laid over the raw edge, then 
the ruffle is shirred through; this leaves a heading and a double hemless ruffle, and is to be 
-^o the foundation skirt to fall over the silk accordion-plaiting. I he making of this 

puff-ruffle is shown at No. 7. 



No. 8.—Three-Tuck Ruche 



No. 7.—Puff-Ruffle 



No. 6.—Simple Ruche for Edge of Chiffon 
Accordion-Plaiting 









78 


DRESSMAKING, UP TO DATE 


Still another finish is shown and is called a three-tuck ruche. The chiffon is cut seven 
inches wide, the strips joined and the selvages cut off; the long strip is folded lengthwise 
through the centre, the two raw edges are then brought up, inside, to three-quarters of an inch 
from the centre fold and a shirring is run one inch from this centre fold; the manner of making 
this ruche is shown at No. 8. 




. _ v 



No. 9.—Facing Bottom of Skirt 


The finished ruche shows three 
shirred tucks of even width. 

This ruche is to be placed on 
the edge of the accordion- 
plaiting made of the lining in 
place of the silk ruche pre¬ 
viously described, and is to 
take the place of the accor¬ 
dion-plaiting of chiffon or of 
the puff-ruffle. The outer 
skirt is prepared and fitted 
after the lining is fitted and 
made the correct length. 

To make a lining of much 
more simple finish, mark the 
length of the skirt with a 

colored thread, then fit a bias band of crinoline three and one-half inches wide around, leaving 
a seam beyond the marking line; turn up the silk and crinoline and baste. Face with a bias 

piece of the lining cut four inches wide. (No. 9.) 

Turn under the right side of the placket at the closing line 
and baste it. Make an underlap for the left side from a straight 
piece of the lining three and three-quarter inches wide and an 
inch longer than the length of the placket opening. This is 
usually ten inches, but for a very small person may be less. 
Sew one edge of the underlap to the left side of the placket 
opening with the seam on the inside, being careful not to 
stretch the bias, then hem the other edge of the underlap on 
the inside of the skirt to cover the raw edges of the seam. 

Cut from the lining enough bias strips, each four inches 
wide, to measure three times around the bottom of the skirt. 
This may be hemmed with a very narrow hem on both edges or 
it may be pinked. Lay this in box-plaits and baste through 
the centre, forming a ruche as seen at No. 10; then baste the 
ruche on the skirt, keeping the edge of the ruche even with 
the edge of the bottom of the skirt; and stitch it fast to the skirt through the centre bastings. 

A dust ruffle, cut bias and four inches wide, should be pinked or hemmed on both edges 
and shirred three-quarters of an inch from the edge and 
sewed to the inside of the bottom of the skirt through 
this shirring. Tack the dust ruffle to the skirt at inter¬ 
vals of fourteen inches, using a French tack. This is 
made by taking a small stitch in the skirt and one in the 
ruffle, leaving, in this case, half an inch of twist between. 

Take a stitch again into the same place in the skirt and 
again into the ruffle, leaving the half-inch of twist each 
time. This will leave three strands of silk. Work back 
around all three at once with five or six buttonhole 
stitches, not too close together, and fasten the end off on 
the skirt. (No. 11.) 

The method described forms the simplest finish for 
the bottom of an evening skirt, but if more fluffiness is 
desired about the feet and the quantity of material used 
is no object, deep plaitings, ruchings and over-ruffles of 

chiffon, also ruched, may be used as prodigally as desired. If chiffon, net or other diaphanous 
material is selected for the skirt, a clouding of chiffon will be required to cover the silk lining. 
This is draped over the latter to soften the effect of the silk, that the strong contrast between 



No. 10.—Box-Plaited Ruche 



No. 11.—French Tack in Dust Ruffle 








DRESSMAKING, UP TO DATE 


79 


the foundation and outer material may not be too pronounced. The material is now draped 
upon the foundation skirt according to the design selected and the directions on the label. 

Cut the outside parts of the skirt and join them according to the pattern. Do not remove 
the tape at the waist-line of the lining skirt, but baste the drapery part over it; try on the 
skirt, alter the drapery at the top part if necessary, turn up the bottom at the right length, 
and baste. Sew up the back seam to the depth of the placket in the lining. Turn the right- 
hand side of the drapery placket over the already turned-under edge of the lining placket, 




but only for seven inches 
from the waist. For the 
same distance, on the 
left side, turn under a 
seam and slip-stitch fast 
to the underlap, overlap¬ 
ping it on this piece 
just a seam’s width. 
From these seven inches 
to the bottom of the 
placket opening hem each 
side neatly with a narrow 
hem. Cut the belt for 
the skirt from the lining 
by the pattern; turn in 
three-eighths of an inch 
at each end and on one 
edge of the length. Meas¬ 
ure from one end one-half 
of the waist measure, 
place a mark here and 
pin to the centre front of 
the skirt; pin it around 
end will have an allowance for 
over and hem down on inside 


both sides, making both exactly the same length. The left 
the underlap. Baste the belt as pinned and stitch it; turn 
of skirt; trim away any material at the top of the skirt 
which may be too wide to go into the belt. 

On the right-hand side of the placket sew hooks 
well back from the edge, one inch apart if the skirt is 
in habit back, one and one-half inch if there is fulness. 
Have hooks the entire length of the placket, sewing them 
on the lining only, below the seven inches, and cover the 
sewed-on part of the hooks with a facing cut on the 
straight. (No. 12.) Sew rings covered with buttonhole 
twist or loops worked with the twist on the left side, plac¬ 
ing them so they will correspond with the hooks, and 
bring the closing together properly. Sew hooks and eyes 
or buttonholed rings on the belt as directed for a plain 
skirt. Use ordinary straight hooks for the belt and hump 
or patent French hooks for the placket. 

If a bustle is desired, one which is both dainty and 


No. 12.—Finish of Placket 


and Belt 


light may be made of taffeta ruffles, as shown at No. 13. No. 13—A Ruffle Bustle 

A piece of lining material, silk or percaline, is cut about 
four inches smaller than the finished bustle is to be, a 

three and one-half-inch bias ruffle, pinked on both edges, is sewed in several rows across the 
foundation piece, and the whole is finished by a ruffle running around and covering the ends 
of these cross rows. The foundation piece has its edges pinked so that both sides of the pad 
show a neat finish; it should be tacked to the belt of the skirt at the left side of the centre, 
and one French tack at the centre of the lower edge holds it to the left side of the placket 
opening. A hook should be sewed to the upper right-hand coinei and will catch into a 
covered ring sewed in a suitable position on the inside of the belt. Bustles aie eomparati\ ely 
little worn now, but some figures, especially those having large abdominal development with 
a corresponding flatness in the back, will be improved by a bustle of thi> kind. 











The Tailor-Made Gown 

A T ONE time the making of a tailor-made gown was considered impossible to the home 
dressmaker, but now, with authoritative information at hand and greater facilities 
y Y for the amateur, very creditable gowns can easily be put forth. 

By observing the rules carefully and permitting no occasion to pass which may 
hold even one small point of information, the worker will accomplish results which will not 
only please but greatly surprise her. 

The difficulty is not so much greater in a gown of this character than in one with a draped 
waist although the basting and fitting must be done very accurately, with almost innumerable 
pressings; while each minute detail must be given its proper consideration. Each in itself 
is quite simple, although all taken together, when properly executed, accomplish a perfect whole. 

A tailor-made waist usually has all the seams visible on the outside, although pressed so 
flat that a perfectly smooth surface is the result. 

Cut the material and either chalk the outlet seams or mark with tailors’ tacks. Pin 
the forms together, beginning at the waist-line and working up, then from the waist-line 
down, and baste from top to bottom with small running 
stitches. It must be remembered that a great deal de¬ 
pends upon the size of the basting stitches employed; 
those for joining the forms together must be small run¬ 
ning stitches, so that the waist may be snugly fitted. 

Try the waist on and note that the waist-line sets 
well down into the curve of the figure before making any 
alterations. Pin the fronts together beginning at the 
waist-line and keep the bastings together to the neck, 
then pin from the waist-line down. If the fit is a little 
snug over the bust, a slight curve may be allowed 
beyond the basting, but if it is much too tight make the 
, alterations at the outlet seams. If the armhole feels 
tight, snip the edge the depth of the seam (three-eighths 
of an inch) all around the front, and if too high under the 
arm, snip here also. This will increase the size of the arm¬ 
hole considerably and allow sufficient seam for sewing 
in the sleeve. 

Take the waist off and rebaste, making both sides 
exactly alike (unless one side of the figure is different 
from the other), in which case both sides must Be fitted. 

Having finished the alterations, stitch the seams just 
outside the bastings—this prevents the waist from being 
tighter and allows sufficient room for the bones and 
casings. Remove the bastings and press very flat. 

All seams must be notched at the waist-line and 
again two inches above, and below if the waist is long. 

As the seam must lie flat, it may, perhaps, be necessary 
to cut another notch or two if there is a great curve. 

Due consideration was given the subject of boning in the chapter “ Draped Waists,” but 
a few extra words of instruction are here given. If featherbone has been selected for this 
tailor-made waist it is applied to every seam and in the positions explained. 

If whalebone is selected, a casing of Prussia binding is applied. Turn over the top one inch 
and overcast the edges of one side together, three-quarters of an inch. The remaining quarter 
is caught firmly to the seam with two stitches on top of each other, keeping the centre of the cas¬ 
ing directly on the seam. Sew the casing on full, like gathers, as shown at No. 1; when half 
way between the waist-line and the notch above, begin to put in extra fulness until the same 
position below the waist-line is reached; below this the fulness is the same as at first. Sew on 
the other side, leaving the loop open at the top. Soak the bones in water. 

80 





DRESSMAKING, UP TO DATE 


81 



When featherbone is applied the lower edge of the waist need not be finished until later, 
as the featherbone is easily trimmed or cut. With whalebone, however, the bottom of the 
waist is trimmed the correct shape and a bias strip of thin crinoline about an inch wide (this 
depends upon the length of the waist below the waist-line) is fitted all around the bottom 
over the bone casings. Turn up the edge, keeping a clean-cut line, and baste. Cat-stitch 
this; remove the basting and press. 

Cut the corners off the bone, thus shaping a curve, and insert it through the aperture at 
the upper part of the casing. Push the bone through to the very bottom of the seam, then 

draw it back a trifle so that it will not strain 
the edge, and sew through the bone a quarter 
of an inch from the end. Tack first on one 
side, over and over, from centre to edge, then 
directly opposite in the same manner, being 
careful not to catch in the lining of the form. 

A second tacking is made about an inch 
and a half above the waist-line. The bone is 
sprung in as much as possible—that is, it is 


No. 2.—Front of Tailor-Made Waist 


pushed in with great force, the fulness of the 
casing facilitating this—and tacked as just 
explained. This process requires no little 
strength, but is very essential if the waist be 
properly boned, since it produces a graceful 
curving around the waist. (With feather¬ 
bone this springing is done by machine.) No. 3. Back of Tailor-Made Waist 

The bone is now cut off the exact length of 
the casing, corners are trimmed off and the 

bone slipped into the opening. Sometimes another tack is placed an inch and a half below 
the top of the bone. The aperture is now closed by overcasting the edges together. 

This is a perfect method of boning. The lower tacking prevents the bone protruding 
through the lower edge of the waist, the second causes the spring or curving at the waist-line 
and also prevents the bone from thrusting through the top of the casing. In turn, the de¬ 
tached casing at the top prevents the bone from wearing through the material. Extra long 
seams require the first tacking as explained, then a second about half an inch below the waist¬ 
line, and then the springing of the bone; tacking and finishing as for the other seams. 

The finished effect of the front of a basque constructed according to these directions is 
pictured at No. 2. If the lower edge is ornamented with machine-stitching, this is accom- 




82 


DRESSMAKING, UP TO DATE 


plished and pressed before the bones are inserted. Waists made in this manner are to be 
worn outside the skirt and are sometimes made with postilion backs and pointed in front. 

For the invisible closing at the front insert the crinoline as directed for underneath hooks 
and eyes, turn over the edge on the correct basting and add the ornamental stitching at the 
same time as that for the lower edge. Press this, after which affix the hooks and eyes. But¬ 
tonholes and buttons may effect the closing, if desired, but for these extra width must be 
allowed on the fronts in cutting the waist. 

A fitted canvas or haircloth may be placed over the fullest part of the bust, as explained 
for a coat, as this assures a good shaping to the front of the waist. 

Cut the lining, which is usually silk, and join the forms as for a coat; place corresponding 
seams together and tack occasionally. If preferred, each lining form may be lapped and 

hemmed over the other. Hem down the front and around the 
bottom, close to the edge. At No. 3 the effect of good work, as 
well as the spring of the bones, is displayed in the back of this waist. 

If a belt tape is used it is made a very snug fit, usually a 
quarter of an inch smaller than the waist measure, and is finished 
with either one or two hooks and eyes. Before this tape is 
adjusted, however, three hooks are sewed to the bones on the 
back seams. These hooks have the two prongs, which form 
rings on the ends, separated with the scissors so that they are 
more easily sewed to the seams without stitching through the 
bones. The bill of the hook just touches the waist-line, where it 
is fastened firmly; it is also tacked through the rings at the 
upper edge, as seen in No. 4. 

The belt tape is slipped under the bills of the hooks with 
the centre to the centre-back seam of the waist. Cross-stitch 
with a light-colored twist, taking the needle under the bone at 
every stitch and fastening off firmly. 

For a standing collar linen canvas forms the best interlining. 
Shrink it by wetting thoroughly, then cut a double strip bias, the same shape as the collar. 
Stitch this double canvas back and forth on the machine as illustrated at No. 5. 

The material is cut exactly like the pattern, but the seam allowance of three-eighths 
of an inch is cut off all sides of the canvas. Place these together and baste all around. Turn 
over the edge of the material without turning the canvas and baste, snipping the upper curve 
portion where necessary, then cat-stitch all around. This method is shown at No. 6, with the 
lower edge of the material ready to be turned up and cat-stitched. Adjust the collar with its 



No. 4.—Hook Sewed on Seam 
under Belt Tape 



No. 5.—Stitched Canvas Collar 


lower edge touching the seam line all around the neck and slip-stitch firmly; snip the neck 
curve that the seam may set flat against the collar and cat-stitch the neck seam of the waist to 
the collar. Add the hooks and eyes and face the collar with silk. 

On some occasions the lapels of a waist similar to the one illustrated are formed by turning 
back the fronts at the top. When this is the case, the cloth and canvas collar are padding 
stitched together and then joined to the lapels, which have previously been covered with 
canvas, then padding stitched. The collar and lapel facings are adjusted as directed for coat 
collars in the chapter entitled “Coats and Jackets.” 

In the present instance, however, the entire collar and lapels are applied. These are 
interlined with a single layer of canvas and the seams joined and well pressed. Turn the 








DRESSMAKING, UP TO DATE 


83 


material o\ ei the edge without turning the canvas and apply the ornamental stitching which must 
match the stitching on the waist. Adjust the lining so that it fits the collar exactly; turn in 
the edge and hem. \\ ithout catching in the lining join the collar to the neck of the waist, turn 
the seam up on the collar and cat-stitch. The remaining edge of the collar lining is turned in and 
hemmed along the former line of stitching. This should be done with great nicety—as the roll 
of the collai has to be preserved and the lining must be in no way full; at the same time it 
must not be drawn tight, else it will disturb the correct appearance of the collar on the outside. 

One of the many evidences of a well-made tailor waist is the result of hard pressing. 
All edges should be faced with crinoline before stitching, canvas being employed for very 
heavy cloth. After cat-stitching the edges, remove the bastings before pressing. Press 
the individual parts as the work progresses and give a final pressing after the waist is finished. 



No. 6.—Material Collar and Canvas 


Sleeves for a tailor-made garment are usually plain, but whether this is the case or some¬ 
what elaborate sleeves have been selected, follow the directions on the label of the particular 
pattern chosen. Baste as directed in the chapter “Draped Waists,” and fit carefully. 

Sometimes buttons and buttonholes complete the closing at the wrist, in which case the back 
seam is opened and the crinoline or canvas fitted up the side to the top of the opening. After the 
ornamental stitching is added, the buttonholes are w r orked and the buttons sewed in position. 

Line the sleeves as explained for coat sleeves, stitch in the armholes and hem the lining 
all around against the line of stitching. 

The skirt should be made according to a fashionable pattern and may be unlined, if 
the material is a heavy cloth, since many of these follow the tailor-made effects. When 
light-weight cloth is chosen a silk foundation skirt is used and this is made according to the 
directions given in the chapter entitled “Skirts.” Select an appropriate finish for the seams, 
also for the finish at the hem. 

It is well to remember that in making a selection of material the design of the gown should, 
in a measure, influence both the style of material and the width. If a circular skirt or one with 
broad gores has been selected, a material of wide double fold should be chosen so as to avoid join¬ 
ings. For a skirt with narrow gores a single width material may be cut to equal advantage. 

Sometimes women complain of being advised to purchase too much material because 
they think it is possible to cut from less than is printed on the label of the pattern. In this 
regard it must be remembered that one person may cut much more economically than another. 
Besides, where one woman would be perfectly satisfied to piece out a width, another would 
refuse to do it, knowing that this is not done by those who would have first-class \Vork. Instead, 
the goods must be opened to its full width, so that no joinings will be required; while this 
necessitates a somewhat greater quantity of material, it denotes good workmanship. There 
are occasions, however, when small piecings may be required at the lower edge of a gore, even 
in the widest goods, but this is unavoidable. Joinings should be eschewed as much as possible. 

Again, it is necessary to good cutting, and fitting as well, to lay each piece of the pattern 
on exactly the grain of the goods designated by the line of perforations. This is essential since 
the entire garment may twist or wrinkle, so that it will be most imperfectly finished. This 
is also a means of reducing the quantity of material to be used, but it is simply an error on 
the part of the worker and should never be done, even to save the material, for it is most un¬ 
workmanlike. 




Coats and Jackets 

T HE amateur dressmaker has many misgivings when she decides to make a coat, for, 
while she may be quite clever at dressmaking, coat-making is so very different that 
she always fears to begin. Many dressmakers, too, although they have a wider knowl¬ 
edge, are frequently in doubt as to how to proceed in certain stages of the work and 
to these the following information will be of great benefit. Coats and jackets vary in shape, 
but this general information will be found applicable to almost all designs. _ # 

Tight-fitted coats, closely outlining the figure, require more care and attention in the 
making than a fancy coat, though the latter when finished, may look much more elaborate. 
The plain and apparently simple coat, with its straight front and closely fitted sides and back, 
its stitched, lapped or strapped seams, is the severest test of the dressmaker’s skill. 

The first important item is to have the cloth 
thoroughly shrunken, and instructions for this are 
given in the chapter “Important Points and Aids in 
Dressmaking.’ ’ 

The cloth being ready, lay out the pattern on it 
to the best advantage, being careful, if there is a nap, 
to place the pieces so they will all run the same way 
of the goods. If this is not done, the pieces with the 
nap running in the opposite direction will shade; that 
is, they will look a different color. The nap should 
always run toward the bottom of the garment. Be 
sure to follow carefully the directions accompanying 
the pattern, which tell just how each piece must lie on 
the grain of the goods; otherwise, the completed gar¬ 
ment will draw crooked, and no amount of fitting and 
refitting will ever make it straight. 

When using full-width cloth—that is, fifty-two or 
fifty-four inches wide—if a short jacket is being made 
the pieces may fit in to cut economically with the cloth 
folded lengthwise through the centre, as it is folded 
when bought. For a long coat, however, it may be 
necessary to open the cloth to its full width. Lay it 
out smoothly, with the wrong side up and arrange the 
various pieces of the pattern on it in correct position. 

Measure the length of the arm and alter the sleeve 
length of the pattern, when necessary, according to 
the directions given in the label. 

Having the pattern laid out properly, outline it 
with tailors’ chalk, remembering always that three- A 
eighths of an inch is allowed for seams which are not ^ 
marked with perforations. In almost all patterns, No. 1.—Front Marked with Tailors’Tacks 
the seams at shoulders, under-arms, and outside edges 
of sleeves have perforations allowing larger seams, 

called outlet perforations, because it is at these seams that the alterations are made in 
fitting. Mark the outline at these perforations, as well as at the various edges of the pattern. 

When the outlines of all the pieces have been marked with chalk, cut off the length of 
cloth containing them and reversing the remainder of the cloth lay it out right side up and 
with the nap running down and lay over it the piece on which the outlines have been chalked, 
the right side of the latter piece facing the right side of the lower cloth and the nap of both 
running in the same direction. The chalk outlines, having been made bn the wrong side of the 
cloth, will now be on top. Cut through both thicknesses. Mark with tailors’ tacks (these 
are described and illustrated in the chapter “Practical and Ornamental Stitches”) through 
both thicknesses of cloth, along the perforation line at all the outline seams and also the 

84 



DRESSMAKING, UP TO DATE 


85 


marks for pockets, notch collar turning, centre front line; in fact, at every mark that indicates 
a point in the construction or finishing of the garment, so that there will be no trouble later. 

At No. 1 will be seen the second front portion of a coat made with a seam running to 
the shoulder. The tacks have been cut and the two pieces are in process of separation. 

Cut from tailors’ canvas, previously shrunken, the front of the coat. For a coat that 
is cut with the front in one piece, either loose or shaped with a dart, cut the canvas in the same 




shape from the front edge, across the shoulder and 
around the armhole to the under-arm seam. Cut it 
three inches deep at this seam and slope from this 
point to the waist-line at the dart and continuing 
thence in a straight line down the front to 
the lower edge (see No. 2). This holds the fronts 
firm and flat and leaves no canvas at the side 
hip-line, where it would break and cause the coat 
to wrinkle. Baste this canvas to the wrong side of 
the cloth, then baste all the seams of the coat, 
canvas and cloth together, according to the notches, 
and it is ready for the first fitting. When a coat is 
shaped with a seam running to the shoulder instead 
of a dart, the canvas also must be cut in two 
pieces and joined in a seam. Make the first piece 
of canvas the same size as the first piece of the cloth; 
on the second piece cut it diagonally from three 
inches below the armhole to the waist-line, making 
the canvas follow the same outline as when the 
front is cut in one piece. 

After fitting, make the necessary alterations, if 
any, stitch the canvas seam of the dart and the seam 
in the cloth separately, nick them on all curves 
and press them well. Stitch all the seams of the 
coat, and if they are to be strapped seams (a fold 
or strap of the cloth stitched down each seam), or 
if they are to be stitched 
with one or more rows 
of stitching each side of 
the seam, or as lapped 
seams, press the seams 
and stitch them. Other 
methods of ornamental stitching for seams will be found under the 
title, “Novel, Artistic Seams.” All “top stitching,” as it is called, 
must be done before the lining is put in. 

Baste the stitched canvas pieces into the fronts of the coat 
again with several rows of bastings. One of the secrets of a veil- 
tailored coat is many and careful bastings, and thorough piessing 
at every stage of the work. 

To give the coat a round, well-shaped look over the bust, and 
prevent wrinkling and breaking, take a piece of haircloth, about 
five-eighths of a yard, shrink it and cut it to follow the shape of 
the front of the coat, but about two inches smaller—around the 
neck, shoulder and armhole—and finish it in a point about thiee 
inches above the waist-line. Do not make a seam in it at the No. 3.— Haircloth Pad 

dart seam in the coat, but cut a V-shaped piece from it to make 

it fit, and draw the cut edges together. Baste a strip of ordinary 

lining cambric over this joining and also all around the haircloth to hold it to the 
pnn JL and to cover its raw edges. This haircloth is shown at No. 3. Attach the 
haircloth to the canvas by padding stitches and hem it to it at the bound edges; t is 


No- 2.—Canvas and Haircloth Applied in 
Front of Coat 


18 PiC Where at the° garment is an Eton or other short jacket the canvas interlining is 
aDDlied as shown at No. 4, the basting from below the armhole to the front tab 
indicating the outline of the canvas. The basting for the front centre is also shown 





86 


DRESSMAKING, UP TO DATE 


indicating the amount the coat is to lap, as these markings are to be brought together 
when trying on; but whether single or double breasted the canvas must extend to the edge. 

Baste a piece of canvas, cut to shape and about three inches wide, around the neck at 
the back and similar pieces around the armholes of the back and under-arm, to meet the canvas 
of the fronts as shown at No. 5. This stays the coat and improves the ornamental stitching. 

Cut the collar by the pattern and its canvas three-eighths of an inch smaller. Mark 




No. 6.—Stitching on Standing Part of Collar 


carefully the line of perforations in the collar which indicate where it is to be turned over, 
this will leave a crescent-shaped piece, which is the part that goes into the neck of the coat 
and is the “stand-up” part of the collar. This is to be stitched closely, several rows of stitching 
maintaining the shape of the outline. (No. 6.) The turn-over part, as well as the lapel 
or revers front, must be held firmly, catching the canvas and cloth together by many 
small padding stitches which may be about half an inch long on the canvas side and just barely 
catch, but not show through to the cloth. (No. 7.) In making the padding stitch on 
the collar and lapels hold them over the hand, the canvas uppermost, and as the stitching 
is done, roll and shape the section in the direction in which it is to lie. The detail for 
padding stitch is shown in the chapter “Practical and Ornamental Stitches.” 









DRESSMAKING, UP TO DATE 


87 



Turn the edges of the cloth over the canvas and press; baste the collar, canvas side up, 
flat on the coat according to the notches in the collar and in the neck. The upper or turn-over 
part of the collar must lie flat, joining the turned-over lapels at the top of the fronts, to,form 
the notched or “man’s” collar. 

It will be found that the pattern allows a lap of about two inches on each front edge beyond 
the double perforations that mark the centre of the front, which is ample for the buttonholes, 
when the coat is single-breasted. It may be finished with visible buttons and buttonholes, but 
a fly which conceals the fastenings may be used if preferred. 

When the coat has advanced this far, try it on. Fold over the lapel corners at the top of 
the fronts and see that the collar is the correct size and fits properly. If it does not, it may 
be shaped by shrinking, stretching and pressing. The front edges of the coat should lie close 
to the figure at the bust and a well-fitted coat should hold itself in shape to the figure at this 
point, even when unbuttoned. If it is inclined to flare away at the front line, pin in one or 
two small dart-like tucks, about one-quarter of an inch at the coat’s edge and running out to 
nothing about two inches inside the edge, far enough to shape the edge and take out the stretched 
appearance. Mark these tucks with chalk, remove the pins and slash in the canvas at each 

chalk mark. Lap the canvas the same space that the 
tucks were made, cut away one edge to meet the other, 
lay a piece of cambric over the slash and sew the cambric 
to hold it to shape. The cloth will now have in it the 
fulness that has been taken out of the canvas and must 
be gathered on a thread, dampened and shrunk with the 
iron. Narrow linen tape is sewed to the canvas toward 
the inside of the coat at the crease of the lapel, drawing it 
taut to prevent stretching. The edges of the lapel 
should also be taped and the front coat edges as well, 
drawing the tape at these edges to give good shaping 
and pressing smoothly. 

From the cloth, cut collar facing and facings for 
fronts. The front facings must be cut to the shaping of 
the front after the edges have been altered and taped. 
Lay the cloth on the fronts and over the turned lapel 
corners, pin it carefully in place, holding the front and lapel in their proper shape. Then cut 
it to the required width. It need extend only about three inches inside of the line that 
marks the centre of the front. Collar facing, if of cloth, must be cut 
on the width or cross grain of the material and must not have a seam in 
the centre of the back. Fit the collar facing to the canvas collar and 
join this facing to the front facings, matching the notches on the collar 
and on the front facings; press the seams open and baste to the canvas 
collar and to the fronts of the coat, turning in the edges of both coat, and 
facing. This finish is for visible closing and the buttonholes are to be 
worked through both the outside and the cloth facing. For a fly facing, 
leave the facing of the right side of the front separated from the coat 
below the lapel, as this facing will form the fly for the in\ isible but¬ 
tonholes. Turn the edge of the cloth under on this right side, and from 
the crease of the turned-over lapel to the bottom of the coat stitch on 
the upper or finished side of coat about a quarter ol an inch from the 

edge as a finish, having one or more rows of stitching as desired; then face this side with a 

piece of the silk, satin or serge used for lining. 

This facing must be wide enough to reach past the centre front. The cloth facing for the 
right side must itself be faced upon its side toward the coat with a piece of the same lining 
and be stitched a quarter inch in from the front edge. Baste the cloth underfacing to t e 
inside of the right side of the coat, and at the centre line stitch with one row of stitching through 
both coat and facing to hold them firmly together. Now continue the row of ed S e st ‘ tc1 ^ "8 
front the place where it began at the top of the right side, around the turned-over lapels, arouna 

the T’ a velvet coZ facing is use'd instead of one of the same cloth (and this adds much to the gen- 
eral aood effect of the coat) it should be made of a seamless bias strip of velvet ; do not stitch the 
edge! of the collar!but 'only the turned-over lapels, which are of cloth The edge of the velvet is 
turned over the canvas collar and the raw edge cat-stitched flat to the clot i ining o le co 


No. 7.—Canvas and Cloth of Collar showing 
Padding Stitches 



No. 8.—Finish of Sleeve 
at Wrist 



88 


DRESSMAKING, UP TO DATE 



All pressing and shaping of the collar must be done before putting on the velvet facing. 
Baste up the bottom edge of the coat, unless this has been done when stitching the lapels. 

If any padding is needed, a few layers of sheet wadding, decreasing in size, so it may grow 
thinner toward the edges, may be basted around the armhole from front shoulder to back 
shoulder, deepening under the arm and being made thick or thin where the figure may require 
it. If it is desired to make the shoulders look more square, place a triangular piece of wadding 
on the shoulder with the point at about the middle of the shoulder seam and the wider part 
at the armhole, making the wadding thick enough to give the required squareness to the shoulders. 

Baste the seams of the sleeves and baste the sleeves in the armhole of the coat according 
to perforations and notches and give a second fitting. If the sleeves need any alteration in 
size around the arm, make it at the seam marked 
by outlet perforations, removing the sleeve from the 
armholes of the coat for this purpose. A bias 
strip of canvas three inches deep should be basted 
into the wrist part at the proper length and the cloth 
turned over and cat-stitched to the canvas. Finish 
the edge with one or two rows of machine-stitching 
to match the stitching on the edges of the coat. 

If stitching at cuff depth is desired it must be 
made before completing the outside seam. This 
sleeve preparation is seen at No. 8. Baste the 
sleeves in the armholes and stitch them. 

Work the buttonholes, the top one just at the 
lowest corner of the turned-over lapel and sew the 
buttons on the left side to correspond, sewing through 
coat and canvas, but not through the facing. The 
coat is now ready for the lining. 

In making a fly front, collarless coat or jacket, 
with a seam running to the shoulder instead of a 
dart, the method is a trifle different. The first 
front piece is entirely lined with canvas and in the 
second front piece the canvas reaches to the waist¬ 
line on the edge toward the front, sloping thence to 
a depth of about three inches at the under-arm 
seam. This canvas must be cut the same as the 
fitted cloth and is joined in a seam which should 
be notched and pressed open. The canvas is then 
basted inside the fronts of the jacket with the seam 
edges of the canvas toward those of the cloth. 

Tailors’ canvas of soft quality should be used in the 
fronts, but for the canvasing at the neck and arm¬ 
holes of the back portions French canvas is used, 
cut to the shape and basted in place. The left 
front and the neck edges are now turned over the No. 9.-Inside View of Fly-Front Coat 

canvas and basted. The right front is faced with a 
narrow strip of silk and one or two rows of machine- 

sitching are made along these edges. A piece of haircloth, cut and bound as directed for No. 3, 
is fitted into each front to hold the coat into a well-rounded shape over the bust. The fly piece 
is next fitted to the right side of the front and the row of stitching to hold it to the coat is made 
at the centre line. The buttonholes are then worked in it at even spaces and from the cloth 
side. All of these are shown at No. 9. 

If any padding is necessary at shoulders or under-arms it should now be tacked in place, 
after which the coat is ready for the lining, though if interlining is to be used to give greater 
warmth it should be put in before the front facing is applied. Cotton flannel is frequently 
used for the interlining, though a soft all-wool material, that comes especially for the pur¬ 
pose, is preferable, as it gives greater warmth in proportion to its weight than the cotton. 
The interlining is not cut in pieces like the silk lining and the outside, but is fitted across the back 
in one piece from one under-arm seam to the other and should terminate three or four inches 
above the waist. Slash it in places, if necessary, to make it fit, and tack the slashed edges 
together. Fit pieces into the fronts in the same way; do not make regular seams, but slash 




DRESSMAKING, UP TO DATE 


89 


it along the outline of the seam in front, lap one edge over the other, cutting away superfluous 
material, and baste the edges together one over the other, avoiding all possible thickness. 

Turn up the lower edge of the coat all round. The front of this coat is pictured at 
No. 9 and is now ready for the lining. 


LINING A COAT OR JACKET 


Silk or satin is unquestionably the only satisfactory lining for a coat. One of the several 
silk substitutes may be used for lining a gown, but only the absolute necessity for economy 
should permit its use as coat lining. Skinner’s satin is probably the best wearing, all¬ 
round material for coat lining, though silk serge and taffeta also are used. White satin of a 
good, firm quality is the most attractive, but satin matching the shade of the cloth is more 
serviceable. The lining is the final stage of coat-making; the outside must be entirely 
finished, the pockets in and all 
the ornamental stitching in 
place before beginning the 
lining. 

Cut the lining from the 
same pattern as the cloth, 
allowing for any alterations 




No. 11.—Fitting the Lining in the Front 


No. 10.—Plaited Wadding for Top of Sleeve 


which have been made in fitting and cutting the lining 
of the fronts to extend to the front facings only, and 
cut the back pieces each one-half an inch wider than 
the pattern to allow for a small plait in the c tre 
back; leave good seams, as the lining must be quite 
easy. If it is tight it will draw the outside of the coat 
and cause wrinkles. Stitch the seam down the centre 
back, then baste a small plait just at this seam to 
avoid any possibility of tightness. Having the two 
back pieces of the lining basted in the coat, there is a 
raw edge at their two outer edges; catch these raw 
edges flat with a loose basting to the inside of the 
seams of the coat over which they lie. Now take the 
next piece of the lining and baste it through the 
centre to the corresponding piece of the coat, then 
turn under the edge toward the back and baste it 
down like a hem over the raw edge of the back 
pie e, notching the edges of both seams at the waist¬ 
line and immediately above and below, so they will 
fit the curves of the coat. Continue this method 
with each piece of the lining and turn in at the bot¬ 
tom, allowing about an inch of the cloth to show. 
After all the edges are turned under and basted over 
the preceding pieces and over the raw edges of the 
facings in front and around over the edges of the 
collar at the neck, they are to be neatly felled down; 
be careful not to catch through the cloth to the outside. 


The lining of the sleeves is cut like the outside and the seams are stitched and pressed. 
The lining is hemmed down at the hand part and on the small opening allowed in the pattern 
(if there be one) at the back of the sleeve; it is then carefully drawn up m place and basted 
through the cloth of the sleeve all around about five inches from the top Now take a piece 
of wadding, fiftedh inches long and two inches wide, round one side of it, and plait up the straight 
side in three-quarter-inch plaits. (No. 10.) Baste this into the top of the armhole to hold 







90 


DRESSMAKING, UP TO DATE 



out the top of the sleeve, then draw up the sleeve lining, turn in the raw edge and hem it down 
on the coat lining all around the armhole, first basting it in place, covering all previous stitches. 

A slightly different method of lining is as follows: 

After the jacket has been fitted, if any altera¬ 
tions are necessary make the same alterations on 
the pattern, as the patterns of the back and of the 
sleeve portions are used to cut the lining. 

Fit a piece of silk into the front in the manner 
shown at No. 11. Make the selvage parallel with 
the row of stitching at the centre front that holds 
the fly piece to the front, turn this selvage under 
and pin it along evenly. Fit the silk straight across 
at the fullest part of the bust and lay a graduated 
plait from this point to the shoulder seam. Fit the 
silk into the lower part of the jacket by pinning it 


No. 12.—Lining Basted in Jacket 


No. 13.—Sleeve Lining Basted at Armhole 


to form a dart and fitting out carefully to the under¬ 
arm seam. Turn the silk over and sew this dart in 
a seam and cut away the superfluous material. 

Tack this dart seam loosely to the canvas or the 
interlining. Baste the front in place and tack the 
edges to the cloth seams at the under-arm and 
shoulders. Turn under the lower edge and baste to 
the jacket. 

This way of lining the front should be at¬ 
tempted by an experienced person only, otherwise 
it will be safer to cut the linings for the fronts the 
same as the pattern. 

Cut the lining for the backs, using the corrected 
pattern, and allowing one-half inch beyond the pat¬ 
tern at both sides of the centre-back seam. Stitch 
the pieces of the lining of the backs and under¬ 
arms together. Lay a plait one-half inch wide down the length of the back seam and baste 
it to hold it in place. Pin the back pieces of the lining to the coat and fit the next seam of 
the lining directly over the corresponding seam of the cloth and baste the raw edges of 


No. 14.—Finished Lining 




DRESSMAKING, UP TO DATE 


91 


both seams lightly together. If the coat is interlined, tack the seams of the silk lining to 
the interlining. Be sure the seam of the silk lies directly over the seam in the cloth, and 
make the basting stitches somewhat loose. Turn under the edges of the back lining at the 
under-arm and shoulder seams and baste them over the edges of the fronts of the lining. Turn 
under the back lining at the neck and the lower edges and baste to the cloth. The lining 
will now be all basted in position as seen at No. 12. Gather the tops of the sleeves and 
baste and stitch them into the armholes. Turn under the edge of the sleeve lining and gather 
it along the fold. Draw the gathered edge of the sleeve lining over the raw edges of the 
armhole and baste in position as shown at No 13. Hem or fell all the basted edges of the 
silk into place so as to cover the machine-stitching. The finished lining is shown at No. 14. 


COAT POCKETS 


Some coats and jackets are not 
supplied with pockets but are com¬ 
pletely finished without them. 
When pockets are desired they are 
generally inserted during the con¬ 
struction of the garment, and before 
the lining is inserted. 

For a loose front coat a pocket 
is usually inserted between the coat 
and lining at one of the front edges. 
It should be made of the lining like 
an ordinary pocket one would put 
in the seam of a skirt and placed in 
an opening which should have been 
left for that purpose w T hen the lin¬ 
ing w 7 as hemmed dowrn against the 
facing at the front. This opening 
should begin about four inches be¬ 
low the w r aist-line and may be 



No. 15.—Pocket Slash Stitched 



placed on whichever side is more 
convenient for the intended wearer. 

An inserted pocket requires 
great care to be made nicely, but if 
the directions are followed accurate¬ 
ly, step by step', a great deal of the 
difficulty will be obviated. There 
are alw r ays, however, structural mat¬ 
ters to be considered, as the various 
designs are constructed on different 
lines. 

For the slash pockets the open¬ 
ing is faced and the pocket inserted, 
the same method being pursued 
whether the slash is perpendicular or 
horizontal. 

Mark for the slash in the correct 
position and place over this, on the 
right side of the coat, a strip of 
material for a facing. Beneath this 
on the wrong side arrange a larger 

niece of stay linen and baste both in position. Now make two rows of stitching one-quarter of 

m inch apart, along both sides of the mark for the slash or opening “ 8 ?iu S factog 
dirough between these lines, continuing the cutting of the facing to the ends. Tur this 


No. 16.—Finished Slash Basted Together 














92 


DRESSMAKING, UP TO DATE 



No. 17.—Pocket Showing Facings 


in through the opening and baste, 
allowing only a slight edge of the 
facing to show, resembling a cord¬ 
ing. This is known as a “welt edge.” 
The opening is now basted together 
(No. 16), and these bastings are not 
removed until the garment is fin¬ 
ished, as they serve to preserve the 
correct shape of the pocket. Press 
this well. 

The pocket is cut of lining, the 
lower portion, as shown at No. 17, 
being joined to the welt facing. The 
upper portion is faced with a strip of 
the material. 

Turn the coat on the right side 
and stitch just back of the welt, as 
pictured at No. 16. This stitching 


also includes the portion of the 
pocket which has been faced with 
material and previously basted to 
position. Join the two sections of 
the pocket by stitching all around 
the edge, as indicated at No. 18. 

For a perpendicular slash, the 
finish is exactly as explained, but 
the pocket is long and of an entirely 
different shape; nevertheless it is 
inserted in the same manner as the 
pocket illustrated. Bar-tacks finish 
the ends of the slash in each case, 
and a final pressing is given. No. 16 
shows the finished effect on the right 
side before the bastings are removed. 

No. 19 represents an in-and-out 
pocket-lap, which may be applied or 

No. 18.—Reverse Side with Pocket Stitched Around Edge 





No. 19.—!n-and-Out Lap Completed 


not as desired. It is cut, lined with 
silk and stitched, then inserted in the 
opening far enough to catch its upper 
edge to position when the welt 
stitching is worked, the pocket being 
included at the same time in the 
sewing. The upper row of stitching 
is subsequently added. 

What is designated a patch 
pocket is, as its name implies, applied 
like a patch on the outside of the 
jacket according to the perforations 
in the pattern. This, however, is a 
very simple matter, as is the finish¬ 
ing of other pockets of a similar char¬ 
acter, which may very easily be ad¬ 
justed by the worker who has mastered 
the foregoing instructions. 
































Practical and Ornamental Stitceies 


T AILORS’ tacks are used by tailors and dressmakers when basting two sides of a garment 
so as to have them both exactly alike. Instead of basting both sides separately, this 
method is used where practicable, requiring much less time. It is generally employed 
after cutting, when the material has been marked with chalk on one side, and the seams 
and other indicating marks of the forms are desired exactly alike on both. As the stitches 

pass through both thicknesses it is hardly possi¬ 
ble for the lines to deviate. It is accomplished 
as follows: 

With a double thread of basting cotton baste 
through the two thicknesses of cloth with one long 
stitch and two short stitches, leaving the long 
stitch loose enough to form a loop under which 
fhe finger may be placed, and repeat all around 
through the chalk mark. Cut every long stitch, 
then take hold of the two edges of the cloth and 
gently separate the two pieces so the stitches 
which hold them together can be plainly seen. 
Separate the cloth about a quarter of an inch 
and cut the stitches as they show between; this 
will leave a few threads in each piece of cloth, which will represent the sewing line, and both 
sides will be marked exactly alike. The method of making the tailors tacks is shown at No. 
1, with the material turned up displaying the cut stitches. In making these tacks on long 
straight lines to mark tucks or plaits in skirts, for 
instance, the loose stitch may be made an inch 
and a half or longer, and need not be left in a 
loop; its length will supply the necessary thread 
for pulling through between the two pieces of 
cloth; but for coats, or any smaller markings that 
follow a shape or a curve, the tack stitches 
should be short. 

In coat-making, a stitch known as 'padding 
stitch is used on the lapels and collar, because the 
canvas and cloth must be held firmly together. 

This is effected by many small stitches, which 
may be about half an inch long on the canvas 
side and just barely catch, but not show through 
on the right side of the cloth. The method of 
working these is clearly shown at No. 2. The 

canvas is held uppermost and both cloth and . 

canvas are held over the first finger of the left hand, curving the lapel or collar m the direction 
in which it is to lie. The stitch should be started at the line of the fold of the lapel or collar 



No. 2—Padding Stitch 



No. 1.—Tailors’ Tacks 


and worked thence in successive rows to the edge. 

In tying threads after tucks are stitched , always leave both upper and lower threat 
in an end about two inches long. These threads are to be drawn through to the wrong 

side at the point where each tuck finishes, and tied in two or three knots; the ends oeyon 

the knots are then cut off. This is illustrated at No 3. If this is done the stitches then 

^HMl^ocTas^onswill arise when it will be found necessary to tie the threads at the end of 

a line of stitching as well as at the end of tucks and this method will be found useful. In fac , 
wherever the sewing line is not finished by turning over m a hem or otherwise securing the 
ends, this precaution of tying the threads should be observed, for it will prevent the unsig i y 
look of a ripped seam or a tuck of incorrect length. 


93 




94 


DRESSMAKING, UP TO DATE 


THE TAILORED BUTTONHOLE 


A garment that is perfect in every other respect may be greatly injured in appearance by 
badly cut and poorly worked buttonholes. The latter condition of buttonholes is often due to 
their having been poorly cut; it is, therefore, absolutely necessary to exercise the greatest care 
in cutting them. One of the most noticeable faults seen in buttonholes is that resulting from 
cutting the holes so that there is a break in the slash, which produces an uneven or “jagged 

edge. This is frequently caused by the use of dull 
scissors, or from the habit of some dressmakers of 
cutting a buttonhole with two or more clips or move¬ 
ments of the scissors. And again it is due to the 
slipping of fabrics which are very thick, soft or elas¬ 
tic, like the heavy cloths used for coats and jackets. 
To prevent as far as possible this very common 
accident, all thick fabrics should be firmly basted 
together at each side of the line for each buttonhole 
before the latter is cut. Buttonholes should always 
be properly spaced and marked before being cut. 
The desired closeness of the buttons should be de¬ 
cided upon, and then the points for the top and bot¬ 
tom buttonholes should be 
marked; after this the edge 
between the two points 
should be divided by meas¬ 
urement into the number of 
spaces required by the de¬ 
sired closeness of the buttons. These spaces should always be alike. 

If a buttonhole scissors having a gage is to be used, the length 
of the buttonhole need not be marked—it will be sufficient to mark the 
point for the front end only. 

Different kinds of buttonholes are employed for different garments, 
several of these being described and illustrated in the chapter “Hand 
Sewing Stitches.” For garments of heavy cloth and for many bodices 
the round-end or eyelet buttonhole, shown at No. 4, is the best and 
most satisfactory in all respects, as it provides a resting place for the 
shank of the button or the stitches holding the button. 

In cutting this buttonhole great care must be taken to see that the 
under side as well as the upper side is cut exactly in the centre of the 
round hole. If a punch is not obtainable, the end may be clipped out 
with the scissors after the ordinary buttonhole has been cut. 

In the lower figure of No. 4 is shown a tailored buttonhole cut, 
with the end snipped in one-eighth of an inch on each side. The 
second figure shows these cut across and the triangular piece removed. 

After cutting, the buttonhole should be stayed or barred around; this may be done with 
several threads of twist so that the worked edge of the buttonhole will be firm and distinct. 
Tailors follow the plan of using cord formed of several strands of the buttonhole twist, or linen 
thread twisted together, or a gimp cord. An end of this cord or thread is secured at the back 
end of the buttonhole between the fabrics, and then the other end is fastened to the knee or to 
some convenient place and kept taut by a slight strain upon the work as it is held in the hands. 
The cord is kept straight and just back of the edge of the buttonhole by this strain, and the 
stitches are worked over it by the usual movements; and after each stitch is drawn down the 
loose twist should be picked up firmly by the thumb and forefinger quite near the stitch, and 
two or three circular, twisting movements should be made so that the loop formed will settle 
securely and neatly into its proper position. Be careful to complete each stitch with uniform 
movements. The buttonhole in process of working is the upper figure in the illustration. 

Finish the buttonhole with a “bar-tack” made by passing the needle up and down through 



No. 4.—Tailored 
Buttonhole 



No. 3.—Tying Threads 











DRESSMAKING, UP TO DATE 


95 


the goods until two or three threads cross the end of the buttonhole quite close to the stitches; 
then the needle is brought up through the fabric at one side of these threads and put down 
through it at the other side until they are entirely covered with these cross-stitches and the 
stay looks like a fine cord or bar; this makes a firm stay for any buttonhole. 

In working a round-end or eyelet buttonhole, as illustrated, when the eyelet is reached the 
work should be adjusted a trifle so that the twirling movement of the working thread may be made 

in a slightly different direction, thus forming a corner at the beginning of the 
eyelet; and these movements should be reversed at the opposite side to produce 

a similar corner at the end of the eyelet. 
The back end of an eyelet buttonhole 
may be “tacked” or “bar-tacked”; and 
after the buttonholes are worked, their 
straight edges should be closel} r basted 
together by an over-and-over stitch, 
made by pushing the needle up and down 
over the edges just back of the stitches. 
Then they should be pressed through a 
dampened cloth (as should all button¬ 
holes when the goods will permit), and 
before they are dry a stilet'to or some similar ivory or metallic implement should be pushed 
vigorously up through each eyelet until that opening becomes peifectlj lound and the 
stitches around its edges are regular and distinct. Then when the bastings aie iemo\ed, the 
buttonholes will be symmetrical in appearance. 



SEWING BUTTONS ON COATS AND OTHER GARMENTS 




No. 8.—Arrow-Head 


In preparing garments made of heavy fabrics, such as cloakings., etc, for the buttons, 
places for them should be marked as soon as practicable, and after the canvas facing is 
adjusted under the edge, a small extra section of it should be set under the lines marked for 

the buttons, for a 
stay. In ordinary 
garments, a stay-tape 
for the buttons is 
placed between the 
outside fabric and 
the lining. Buttons 
that have wire shanks 
should be carefully 
sewed through the 
outside fabric, the 
canvas facing and the 

tInf'facing 11 of thefabrlc itself; and in setting such buttons for sewing, place them so that the 
wire shank will run parallel with the buttonhole, and not across it. , 

make the spacing seem imper ec . that results from too tightly sewing on a button 

outside of the fabric under the button, or e , gewi s titc hes,” when there are holes in 

« indent thestTtches i^TstTe taken only through the cloth and interlining or stay- 
tape, not through the material facing. 






















96 


DRESSMAKING, UP TO DATE 


ORNAMENTAL TACKS AND ARROW-HEADS 



No. 9.—Detail of Crossed Arrow-Head 


A very neat finish in the way of fancy tacks, etc., may be given to tailor-made garments 
at the ends of the seams, tucks and plaits, and at the corners of collars, pockets and pocket laps. 

The simplest staying tack, known as the bar-tack, is shown partly made at No. 5. It is 

much used at the ends of pocket openings, etc. The de¬ 
tail of this tack is as follows: First decide on the length 
of the tack, marking the line with chalk; then pass the 
needle up from underneath at one end of the line, down 
through at the opposite end, up again at the starting 
point, and down again at the opposite end; and make as 
many of these long stitches as desired. Not less than two 
stitches should be made, but as many more may be made 
as the worker may elect—the greater the number, the 
thicker and heavier will be the tack. Then, without break¬ 
ing the thread, bring the needle up at one end, just to one 
side of the up¬ 
per and under 
long stitches, 
and pass it 

down at a point exactly opposite on the other side 
of the long stitches, to form a short stitch that will 
be square across the long stitches on top. Cover 
the entire length of the long stitches with such 
short stitches, being careful to bring the needle 
up at the same side of the long stitches every 
time, so that the under part of the long stitches 
will be crossed as well as the upper part, taking 
the stitches very close, and pressing the long 
stitches together with the needle so as to pro¬ 
duce as narrow an effect as possible. 

In garments that are finished with machine-stitching, bar-tacks at the ends of pocket 
openings usually extend from a second row of stitching above the opening to a second row 
below the opening, and are sometimes crossed at the ends with short bar-tacks, as illustrated 
at No. 6, working the over-and-over stitches of the latter in the opposite direction. 

Tacks that are commonly called arrow-heads are seen in a variety of shapes and stitches, 

and are made at the tops or 
bottoms of plaits and laps, 
and at the ends of seams 
and pocket openings, etc. 
One of the simplest of these 
tacks is illustrated in detail 
at No. 7. To make this 
style of tack, mark an out¬ 
line of the tack with chalk 
or a pencil. Bring the needle up through at point A and 
pass it down at point B; then up inside and very close to 
point B, and down on the centre line close to point A; 
up at point A, exactly where the needle was first passed 
through and down at point C; up inside and close to point C, and down on the centre line 



No. 10.—Second Movement 




No. 12.—Crossed Arrow-Head 


exactly at the second stitch extending from B to A. Fill in the entire outline in this wav, 
always making two stitches on one side and then two on the other, and being careful to keep 
all the stitches even on the centre line. At No. 7'the work is shown with three stitches on one 
side and two on the other, and the needle correctly placed for the fourth stitch on line BA. 
The finished arrow-head is seen at No. 8. 

A more artistic and durable arrow-head is depicted completed at No. 12, and in detail at 
Nos. 9, 10 and 11. Mark the outline with chalk or a pencil. Bring the needle up at point A, 
















DRESSMAKING, UP TO P4TE 


97 







No. 13.—Piain Crow Foot 





No. 14.—Crossed Triangle 


and pass it down at point B; then up inside and very close to point B, down on the line AC 
c l° se t° point A, and up at point A outside and very close to the first stitch made. Then 
pass the needle under the second stitch and down at point C, as illustrated at No. 9. Bring the 
neeale up inside and close to point C and then pass it down near point A outside and ver} r 

close to the first stitch made, as shown at No. 10. Next 
bring the needle up outside and very close to the first 
stitch running from A to C, and quite close to the second 
stitch in line AB; and then pass it down near B. Bring 
the needle up again on line BC inside and close to the 
third stitch in line AB; and pass it down outside the first 
stitch on line AC. Then bring the needle up outside and 
very close to the first stitch on the line AB, pass it under 
the fourth stitch in line AB, and down on line CB close 
to the second stitch on line AC, as illustrated at No. 11. Now bring the needle up on line 
CB close to the third stitch on line AC, and pass it down outside the first stitch on line AB 
close to the third stitch on line AC. Proceed in this 
manner to fill in the outline, always making two stitches 
parallel with line AB, then two stitches parallel with line 
AC, and being careful to pass the third, fifth, seventh, 
etc., stitches, running parallel with line AC, respectively 
under the second, fourth, sixth, eighth, etc., stitches, 
running parallel with line AB, as illustrated at Nos. 

9 and 11. 

Other fanciful figures are displayed at Nos. 13 and 
14. They are worked exactly as described for the crossed arrow¬ 
head shown at No. 12, and will be found quite simple. 

Probably the most ornamental of the fancy tacks ordinarily 
used at the ends of pocket openings and seams is the crow tack 
or crow foot, as it is sometimes called. It is illustrated completed 
at No. 17, and in detail at Nos. 15 and 16. Outline the tack with 
chalk or a pencil. The dotted outline seen at No. 15 shows the 
correct outline for the tack. Bring the needle up at point A, and 
pass it down at B, and up again at B outside and close to the 
stitch in line AB, then down at C, up at C outside and close to the 
stitch in line BC, and down at A just outside the stitch in line 

AB, as illustrated at No. 15. Now bring the needle up on 
dotted line AC outside the stitch on line AC close to A; and 
pass it down on dotted line BC outside 
the stitch on line BC close to B; up on 
dotted line AB outside both stitches on 
line AB close to B; down on dotted line 
CA outside the stitch on line CA close to 
C; up on dotted line BC outside both 
stitches on line BC; and down on dotted 
line AB outside both stitches on line AB, 
as illustrated at No. 16. Fill in the entire 
outline in this way, until the completed 
foot looks like No. 17. It will be noticed in making this tack that all 
the stitches are taken on the dotted lines and always outside the made 
stitches, thus compressing the first laid stitches so as to curve the sides 
of the tack like the outline. 

For working these ornamental tacks and arrow-heads coai se buttonhole 
twist or twisted embroidery silk is usually employed, and this is generally 
the same color as the material. The work is done on the same order as 
embroidery, keeping the stitches very close together without overlapping, 
so that a smooth, even surface is the result. The selection of any par- 

ticular figure is at the option of the worker; all are very dainty and add greatly to the finish 
of the gown, particularly when the figures are well executed. In fact, they should not be 
worked on the gown at all until one has attained proficiency through executing the selected 

figure several times on a sample of cloth. 



No. 15.—Detail of Crow Foot 



No. 16.—Second Movement 



No. 17.—Crow Foot 














Bias Bands and Folds—Turning Corners 




B IAS bands, facings, ruffles and folds are so much used in dressmaking that it is desirable 
to know the best and quickest way to cut them accurately. A piece of silk, muslin 
or whatever the material to be used, should be placed flat on a table, and from the lower 
left-hand corner mark on the left selvage, four inches up; and on the lower edge 
make a mark at four inches from the starting point toward the right side. This marks off 
the left-hand lower corner of the material. Place a ruler or yardstick across from one mark 

to the other and draw a line with chalk if on dark goods, 
or with pencil if on light. From this line mark the 
desired width for the bias strips and by the marks so 
made draw another line with the stick, and continue 
till the requisite number are marked off. This way of 
marking for the strips is shown in No. 1. Cut through 
the marks and join the strips together. Accuracy 
is very important in this as in every other detail. 

Bias strips can be cut 
from pieces if not too 
small; in joining the strips 
do not attempt to join di¬ 
rectly across the bias, but 
trim each end off on the 
straight, or with the grain 
of the material and make 
a diagonal joining as 
shown at No. 2. 

Narrow milliners’ 
folds of silk or satin are 
much used for trimming 

cloth and other dresses, and are sometimes applied, like braid, in rows or in fanciful designs; 
the method of making is shown at No 3. The folds should be not more than three-eighths of 
an inch in width when they are finished. 

Bias folds are used for many purposes, frequently instead of tucks, and have much the 
same effect when made of the same material as the skirt. In this case the top fold is usually 
a finished or milliners’ fold, made with a small heading, and may be machine stitched if desired. 

As there are various styles and widths of folds it is necessary to study the label on the 
pattern selected, and follow the 
directions carefully. If, however, 
no folds are provided in the pat¬ 
tern the worker will have to use 
judgment in selecting any of the 
folds here presented. For the 
lower folds, the bias strips are cut 

twice the width desired for the fin- No - 3.—Narrow Stitched Milliners’ Fold 

ished fold, allowing also for a narrow turn-in at each 
edge. Fold each through the centre lengthwise, 
bringing the two raw edges together; turn these raw 
edges in a narrow seam toward the inside of the 
fold and run them along close to the edge. (No. 4.) 

Be careful to keep the two sides folded evenly that 
the finished fold may not twist. The upper fold, 
being a milliners’ fold, is made by turning the top edge 


No. 1. —Marking Bias Strips 


No. 2.—Diagonal Joining for a 
Bias Strip 




No. 4.—A Plain Fold 


of the bias strip over half an inch. The lower edge is then turned over a seam and is brought 
up to within an eighth or a quarter of an inch (this is decided by the size of the fold that is 
bemg made) of the top edge. (No. 5.) A row of stitching may be placed on the turned-up 

98 1 








DRESSMAKING, UP TO DATE 


99 



No. 5.—Broad Milliners’ Fold 


A 


edge, and the fold slip-stitched to the garment under this row of stitching, or the turned-up 
edge may be slip-stitched to the fold below it. The completed fold may be slip-stitched to 
the garment with no stitching visible. In making the folds of very thin material the work will 
be much easier if the folds are made over a strip of moderately stiff paper, which may be slipped 
out as the work progresses. 

A cord is sometimes introduced into the upper edge of the milliners’ fold, though the 
manner of making is just the same. If the material, after the raw edges are turned over and 

basted or pressed, is laid on a table and pinned along 
a short distance ahead of the basting, the edges will 
be less likely to twist. After the folds are made, they 
should be carefully pressed. 

Crepe may be lightly pressed with a rather cool 
iron. Folds made of crepe should be cut, if possi¬ 
ble, straight across the goods', as this will show the 
crinkles running diagonally. If they are cut bias the 
crinkles will run straight, and the effect is not so good; 
so, unless many curves and close turns are to be made, 
necessitating a bias, it is better to cut them straight. 

When making cloth straps, to decorate the seams of coats or skirts, these straps may be 
made on the length of the material, from the pieces which are left in cutting the garment, but 
experience has proven that there is 
always a best way, and, just as straps 
of silk should be cut bias of the ma¬ 
terial, so cloth straps work best when 
cut across the width of the goods. 

For a strap five-eighths of an 
inch wide, cut as many strips of cloth 
as will be required, each one inch and 
one-quarter wide. Join them and 
press the seams open, but when bast¬ 
ing the straps on the seams of the 
coat, avoid bringing any of these 
joinings in a prominent place; if 
necessary, it will be better to waste 
a few inches and discard the piece 
with the seam in it. 

Fold the strip of cloth evenly through the centre, lengthwise, right side out and overhand 
the two raw edges together with coarse but even stitches. (No. 6.) Flatten it out with the 

row of overhanding in the middle of the strap and press it well on 
the wrong side. Baste the strap over the seam and stitch near 
each edge through both strap and coat. 

TURNING CORNERS 

To be able to turn corners correctly is a very important thing 
and the several methods here explained will be found of great assist¬ 
ance when lining or turning the corners of coat-skirts, collar and 
cuff corners, and also the linings of pocket-laps, etc., it is quite an 
important feature, as the work must be neatly done. 

The method of turning in the edges of the outside (and its in¬ 
terlining, if it has one) and felling in the lining is the one ordinarily 
adopted, and is a very good one. By the “bagged” method a care¬ 
less worker may do less effective work than by the felling process, 
, n TY1 „corners too closely and"thus cause them to fray, or she may get the parts 
slightly twisted; but a careful worker will not fail to appreciate its advantages after one trial 

° f 1 f ^y 6 1 he S ‘ Ibagged^Hning 1 method the work may be done on the sewing-machine and with 
a much neater refult than by the other process. Even with curved edges (No. 11) the completed 



No. 6.—Making Strap for Seam 



No. 7.-Marking Off for Corner 







100 


DRESSMAKING, UP TO DATE 






Basted Together 


No. 9.—Showing Extra 
Lining at Corner 


work will be perfectly flat and smooth, and all the corners will be properly formed without 
the ruinous process of “picking” them out with a pin or some other sharp instrument. 

To insert a “bagged” lining and turn the corners properly, proceed as follows: If the seam 
joining the outside to the lining is to be one-quarter of an inch in from the finished edge, cut 
the outside fabric half an inch larger along the edges to be finished than you want the section 
to be when finished (one-quarter inch for the seam and another quarter of an inch for the 
distance the seam is to be from the edge); then cut the lining of the same shape as the outside, 

but half an inch smaller along the edges 
only that are to be finished, which will make 
the lining when cut just the size the section 
will be when the lining is added. (If the 
seam is to be farther away from or nearer 
to the edge than one-quarter of an inch, fol¬ 
low this rule: Make the outside as much 
larger along the edges to be finished as the 
distance the seam is to be from the edge 
when completed, plus one-quarter of an 
inch for a seam, and make the lining twice 
the distance the seam is to be from the 
edge smaller than the outside along these 
edges.) Now lay the lining upon the out¬ 
side fabric, with the right sides of the parts 
together, so that the edges of the lining to 
be finished will be from the corresponding 
edges of the outside fabric twice the 
distance that the seam is to be from the completed edges; and then mark each as seen in No. 7, 
using a card for squaring the points or marks so that the corresponding points in the lining and 
outside section will be exactly at right angles with the edges. When the edges have both round 
and hollow curves, marks must be made just where the curve changes its direction in each edge. 

Having carefully marked the points, bring the two corresponding edges of the lining and 
outside together placing the corresponding marks in each, as you would notches in a pattern, 
exactly opposite each other; and pin or baste them securely (see No. 8). In sections where 
the edges are rounding part of the w T ay and hollowing at another part, fulness will exist between 
the marks both in the lining and the outside, the lining being full where the edges are hollowing, 
and the outside where they are rounding. This fulness must be basted in smoothly. Now, 
on the machine, stitch the basted edges to within a quarter of an inch of the next edge of the 
lining; then pin and baste the adjoining edges according to the marks, and fold the fulness 
which will come at the corner exactly di¬ 
agonally through the centre, and turn it 
back under the end of the seam just made, 
as seen at No. 9, so that you can begin the 
next seam exactly where the first one 
ended in the lining portion without sewing 
in the fulness. Having sewed this seam, 
pin, baste and sew the remaining corre¬ 
sponding edges according to their marks. 

Now carefully smooth out the section 
so that the inturn will be of the width 
desired all round the seamed edges, taking 
especial care to have the corner fold so 
that the point will be in an exact line with 
the corner of the seam. Then cut the point 
open (see No. 10) from the outer edges to 
within a few threads of the corner made by 
the in turn, giving the goods at the end of 

the cut a gentle stretch in order to make the point perfectly flat. Then open the point, and press 
it down with the nail. These tiny folds may be stitched together by sticking back and forth 
through the folds or by catching them together with an over-and-over stitch, done with very 
fine thread or twist, being careful not to stick deeper than half-way down the folds. Cut off the 
extensions, turn the section right side out (No. 11) and press it smooth. 


No. 10.—Point Cut Open No. 11.—Finished Corner 






An Empire Tea-Gown 




W HILE a wrapper or tea-gown does not require the perfection of fit of a dress and is 
much less difficult to make, there is in some of them a tendency toward elaboration 
and dress effect that calls for careful treatment as the work advances. 

Generally, the waist only is lined, and the first step is to cut this lining from silk 
or percaline, marking on it all the perforations and notches that are found in the pattern. 
Baste the lining and fit it, make alterations if any are necessary, then stitch all the seams 

except the shoulders, notch or bind them and press them 
open. The seams of a gown of this description are usually 
not boned. With a colored thread, mark on the lining the 
outline of the yoke if there be any, or other necessary marks, 
and the perforations that indicate where the front seams of 
the skirt are to be placed when it is joined to the waist. 
As the lower waist portion in the model illustrated is some¬ 
what looser than the lining to allow for a slight bloused 
effect, the front edges of the lining, should be faced with a 
piece of the gown material. The lining with this facing 
applied and the colored tracing thread outlining the yoke 
line is seen at No. 1. 

The fronts of the 
lining are to be under¬ 
faced when hems are not 
allowed in the pattern. 

Turn under three-eighths 
of an inch at each front 
edge and baste it. Cut 
the material for the outer 
waist portions, observ¬ 
ing all the notches and 
perforations, and place 
a colored tracing thread 
No. 1. — Waist Lining showing Facing down the centre of the 
and Yoke Outline back. Turn under the 

allowed hems of the out¬ 
side front portions according to the notches, stitch them 
or, preferably, hem them by hand. Gather the upper 
edges of the back and front portions, according to the 
indicating notches and again three-eighths of an inch 
below. Baste the outer back portion to the lining, mak¬ 
ing the first row of gathers come even with the yoke 
outline. Make the traced centre back of the outer portion 
come directly over the seam in the centre of the lining. 

Baste around the armhole and along the under-arm 
seam. Baste the fronts to the lining along the traced 
yoke outline and around the armhole. Place the fold 
edge of the hems of the outer portions even with the 
fold edge of the lining fronts. Turn the fronts under at 

the under-arm seam and baste them over the back por- , . , 

tions following the line of the seam in the lining. Slip-stitch the front to the back along 
this fold edge. Make two rows of gathers in the lower edge of the front and back portions 
between the notches and baste them to the lower edge of the lining. The front in this state 

of preparation is shown at No. 2- . , , ,. ., .,i 

If the yoke is made of lace or other transparent material it will be necessary to line it with 

silk. Cut both silk and lace by the yoke pattern and baste the lace to the silk. Turn unc er 


No. 2—Outer Front Portion Basted to 
the Lining 


101 






102 


DRESSMAKING, UP TO DATE 





the lower edge of both a seam (three-eighths of an inch), baste the yoke back to the lining back, 
bringing the folded edge even with the first row of gathers in the outer waist portion. Baste 
the front yokes in place, rip the basted shoulder seams and include the seams of the yokes 
and outer waist portions with the lining and baste the seams again. Stitch them, finish the 
edges as are the other waist seams—overhanded, notched or bound—and press them. Turn 

the front edges of the yoke over the turned-under edges of the 
lining fronts. Sew hooks on the right front and eyes on the left. 
Make one hook and eye come at the double row of gathers at the 
yoke line and another in the same position at the lower edge of the 
waist and arrange the other hooks and eyes at even distances 
between. 

An underlap will be necessary, and this should be made of 
the material of the outer waist to reach from the lower edge to 
the yoke and of the yoke material (or that under the lace) from 
the yoke to the neck. Join these two strips to make, one con¬ 
tinuous length and press the seam open. Baste this underlap to 
the left front over the eyes already applied. Seam a length of 
the lining material to the outer edge of the underlap, turn it over 
toward the inside of the waist and baste the underlap and its 
lining together near this fold edge. Sew 7 both securely to the 
waist lining at their inner edges. Cut a narrow strip of lining, 
about an inch and one-quarter wide, turn under both edges and 
hem them to the lining to cover where the underlap is sewed. The 
inside view of the left front with the eyes, the underlap and the 
facing in process of application is seen at No. 3. A facing should 
be hemmed down to cover the sew'ing of the hooks on the right 
front. Spring hooks or small hump hooks should be sewed to the 
under side of the hem of the outer front portion on the right, 
and 'loops should be w r orked with buttonhole twist in the same 
color at the edge of the left side; these may be two and one-half 
or three inches apart. 

To avoid an open¬ 
ing down the centre 
front, the skirt of this 
gown opens at the seam 
joining the front 
breadth to the first side 
breadth at the left. 

This seam is basted in 
the usual way, matching 
the notches near the top, 
but is left unstitched for ten or twelve inches—a 
comfortable placket length—at the top. The other 
seams are stitched, notched and pressed open. The 
centre of the front breadth should be marked with 
a colored tracing thread. To make the underlap 
for the skirt opening, a straight piece three and 
three-quarter inches wide, of the same material, is 
sew r ed to the front edge of the side breadth, the 
seam toward the inside of the skirt; it is folded 
over and its other long edge is turned under and 
hemmed down to cover the seam just made. The 
seam on the left side of the front breadth is turned No ' 4— Placket Opening and Under-lap on Skirt 

under and a piece of the same material is faced to 

it. The top of the skirt is gathered in two rows one-half inch apart, although a number of rows 
may be added giving a shallow yoke effect. The placket opening in the skirt is shown at No. 4. 

Greater strength will be given to the joining of the skirt and waist if a cord is introduced 
as seen at No. 5. In order that it might show plainly in the illustration a contrasting 
color was used to cover the cord, but the gown material should be used. A bias strip is cut, 
and a rather fine, soft cotton cord is laid in the centre, the strip is doubled and a line of stitches 


// 


No. 3.—Application of Under¬ 
lap on Front 








DRESSMAKING, UP TO DATE 


103 



is run along by hand to hold the cord in place. This is basted to the lower edge of the waist, 
the raw edges downward and the cord just above the lower row of gathers. Leave an end 
of the covered cord beyond the right front and long enough to reach to the placket opening at the 
left side. The cord should begin at this point on the left side, and the lower edge of the waist 
front between the front and the place of the placket opening should be bound with a piece 
of the gown material as shown in No. 5. This also shows the effect of the yoke and blouse. 

The joining of the skirt to the waist 
should be done by sewing the two together 
in a seam from the inside of the garment. 
Place the centre front of the skirt at the 
edge of the right front of the waist, the 
first side seams at the marks on the waist 
between the first and second darts and 
distribute the remainder of the fulness 
around the waist, throwing the most of it 
to the centre back. Baste the portion of 
the front breadth that extends from the 
centre front to the placket opening to the 
end of cord that was left beyond the right 
front. Try on the gown to see if the skirt 
fulness is properly arranged, make altera¬ 
tions if necessary and baste again. 

Cut a bias strip of lining an inch and 
one-quarter wide, baste this (against the 
waist lining) to the seam joining skirt and 
waist, which now includes the skirt, the 
cord, the outer waist and lining and the 
bias strip which is to serve as a facing to 
cover the raw edges of the seam. The 
seam is not to be opened, but is to turn 
down toward the skirt, and the free edge 
of the bias strip is to be turned under and 
hemmed to the second row of gathers in 
the top of the skirt. The piece of mate- 
the centre front and the placket opening is 
the inside. This inside finish is shown at 


No. 5.—Cord Introduced in Seam Joining Waist and Skirt 


rial binding the lower edge of the waist between 
to be turned over and hemmed to the lining on 
No. 6. Hooks are placed at the top of the front breadth and down the placket opening, 
with corresponding eyes on the lower edge of the left front of the waist and on the underlap. 



The sleeves are madeaccord- 
ing to the directions on the label 
of the pattern. If a bolero 
jacket is added, it is made quite 
separate from the waist portion, 
joining it only at the under-arm 
part of the armholes. If the 
bolero is of lace it must have an 
under-lining of silk like the yoke. 

If a collar is used it should 
be made of the same material as 
the yoke, interlined with crino¬ 
line, or if a transparent collar is 
preferred, the interlining should 
be omitted and the collar sup¬ 
ported with collar-bone. Turn . 

the collar under a seam all around and slip-stitch it to the edge of the waist. The collar hmn & 
is turned under in the same way and hemmed to the top and ends of the collar and to the 
inside of the neck of the waist covering the seam. If the collar is to be transparent make the 
lining of chiffon. The collar is left loose on the left side from the point erf closing of t e 
waist to the centre back and the unattached portion of the neck of the waist is bound. The 
bottom of the skirt may be finished with a simple hem, or with two or three folds, like tucks. 


No. 6.—Inside View of Waist and Skirt Joining 








Desirable Garments for Maternity 

Wear 


C 


A 



No. 1.—Lacing in Darts 
and Front 


NUMBER of garments for maternity wear have been especially designed so they may 
be adjusted comfortably to the changing figure and yet have the trim appearance 
of a fitted gown. The principal difficulty has been the lining, as when that was 
once made and fitted there was no way of gradually enlarging it. This has been 
overcome by lacing the front and darts; and other necessary changes may be made by moving 
a few hooks and tapes. 

The physical imperfections of many children are due to the manner in which, through 
pride or ignorance, the mother has clothed herself. Her clothing should be so adapted to her 

changing figure that no undue pressure will rest upon any part of her body. 
If corsets are worn they must be very loosely adjusted and have rubber 
lacings at the back and over the abdomen. The outer garments should 
be so arranged that thej^ may be gradually enlarged by means of the 
closings. Dresses and negligees may be made of attractive materials, 
preferably of soft wool or silk, and plain, solid colors are better than fig¬ 
ured effects. They may be given a pretty touch by the addition of lace, 
embroidery and ribbon, so that one need not 
at any time appear unattractively gowned. 

For afternoon or more dressy occasions, a sun- 
plaited skirt made of crepe de Chine, or one 
of the numerous weaves of veilings will be 
suitable and should be shirred at the waist 
into a belt of soft taffeta several inches larger 
than the waist measure and a ribbon run 
through this to draw it to the right size. 

The waist lining should be basted and fitted in the usual way, 
making it a neat fit but not too tight. Turn back the hem at the 
front of the lining and stitch it with the usual two rows of stitching, 
but make the first one three-eighths of an inch, and the second three- 
quarters of an inch from the edge. Work eyelets near the edge the 
entire length of the front on both sides, as shown at No. 1, and run 
a very soft and pliable bone in the casing formed by the two rows 
of stitching. 

Another way is to place the bone near the edge, as in the ordi¬ 
nary lining, and sew eyes, but not the hooks, in the usual manner and 
lace through these. It would be well to sew a fly or underlap under¬ 
neath each front. Make each about two inches wide and sew hooks 
and eyes on the front edges that they may form a protection under 

the lacings. Lace with a round elastic cord such as is used for corset lacing. Rip the darts 
open and mark the seams with a basting thread; then make that thread the edge of a tuck, 
one-quarter inch deep, running not quite to the top of the dart. Work eyelets or sew eyes 
just back of the tucks at each edge of the dart seams, then slip a round bone into each tuck. 

The unsightly shortening in the front, which makes the ordinary skirt undesirable even 
when the belt is enlarged, is provided against in the pattern by an extension at the top as seen 
at No. 2. The cross-line perforations indicate where a ribbon is to be sewed on, through which 
should be run a ribbon or tape to come through a small buttonholed opening cut in the centre 
front. When fitting the skirt, observe whether this casing mark is at the proper height by 
pinning a piece of tape around where the belt would naturally come. The part of the skirt 
which extends above the casing should have its raw edge overcast or bound; if the skirt should 
become too short across the front and sides, the casing may be moved up toward the top to 
lengthen it. Petticoats and drawers should be finished with a casing at the top with draw-strings. 

104 



No. 2.—Extension at Tod 
of Skirt 











Making and Finishing 


Underwear 


A LTHOUGH there is a particular daintiness and charm about hand-made underwear, 
much fine and beautiful work may be done on the machine, and the saving of time 
is so great that this method is usually given the preference when a number of pieces 
are to be made. A few of the smaller pieces, a corset-cover or a simple chemise, may 
be readily accomplished by hand, but the amount of work necessary to make night¬ 
dresses and petticoats inclines one toward the machine method. Care should be exercised 
to have the tension draw evenly on both the upper and the lower threads. Many sewers 
prefer the single-thread machine because the chain-stitch has greater elasticity than the two 
straight threads of the lock-stitch machine; this quality, as well as the very great ease in run¬ 
ning the single-thread machine, makes it a favorite for the making of underwear. Whichever 

machine is used, however, a careful regard for 
pressure, tension and size of the stitch is the 
principal requirement. One should not expect to 
get good results by using the same size needle 
and the same tension on nainsook that have been 
used in stitching heavy cloth or linen. No. SO 
cotton is the best for white work except on very 
sheer and fine material, when No. 100 or No. 120 
may be used for tucks and hems and all outside 
stitching. Every make of machine has a table 
of the sizes of needles that should be used with 
certain number threads, and it is wise to follow 
these directions. Remember that a looser ten¬ 
sion is required in sewing with cotton than when 
silk is used. 

The hemming and tucking attachments are 
great time savers, but most neat sewers gather 
ruffles, puffs, etc., by hand and “stroke” them 
rather than use the shirring attachment. 

No raw edges of material are left at the 
seams in this class of work; every seam is either 
a French seam or is felled. The French seam is 
used at what may be called the “regular seams” 

_those joining the breadths of the garment or the front and back portions together, as in 

night-dresses, chemises, corset-covers and drawers—but when the seam is for the purpose of 
adding width to a breadth, as is sometimes necessary in cutting drawers or any garment for 
which the material provided is not quite wide enough for a breadth of the pattern, a felled 
seam is made. The usual three-eighths of an inch seam is stitched; then one seam edge is 
trimmed away close to the stitching and the other seam edge is turned under and hemmed over 
the cut-away edge, making a perfectly flat joining, with the single disadvantage that one row 
of stitching shows on the right side of the completed breadth; in many cases this is no objec¬ 
tion. The hemming over the seam edge may be more quickly done, and the necessity of fold¬ 
ing it over by hand is avoided if the narrowest hemmer among the machine attachments is used. 
Both the felled and French seam are illustrated and explained in the chapter “Hand Sewing 



No. 1.—Facing on Drawers 


Stitches.” 

In making a pair of drawers, the French seam is used to join the edges of each leg 
portion and also to join these portions together in the seam that runs from the front 
belt to the back. When open drawers are made this seam is not joined, but each portion is 
faced along this edge with a bias strip of the same material. Stitch the bias facing (which 
should be about an inch and one-quarter wide) to each leg portion from the waist at the front 
around past the joining seam, easing the facing on at the curve, and continuing it up the 
back edge to the waist Turn in the free edge of the facing and hem it to the inside of the 

garment. The manner of applying the facing is shown at No. 1. 

105 






106 


DRESSMAKING, UP TO DATE 


With dress skirts that fit snugly about the hips, the fit of the undergarments is quite an 
important matter, and for this reason underskirts and drawers are frequently made with 
yokes. In buying the pattern the same rule should be followed as when ordering an outside 
skirt. The table of relative waist and hip measurements is given in the chapter “The Cor¬ 
rect Method of Altering Patterns,” and this should always be consulted in selecting a pattern. 
Hip measures are printed on the labels of outer-skirt patterns only, but the same proportions 




are observed in cut¬ 
ting the patterns of 
undergarments, and 
the table should 
always be con¬ 
sulted; if the waist 
and hip measures 
are disproportionate 
to those in the table, 
order the pattern 
the hip measure¬ 
ment of which is 
nearest, and alter 

the pattern at the 
waist-line. The No. 2.—A Circular Yoke Fitted to a Large Waist 

yoke patterns are 

cut in one piece, so there are no darts that may be changed. Before cutting the garment, 
cut the yoke from ordinary lining cambric, mark the centre front with a colored thread and 
fit it; if the waist is too small slash the yoke down from the waist where necessary and pin 
a piece of cambric at each slash to hold it to the correct size, as shown at No. 2; use this 
fitted yoke as a pattern from which to cut. Do not alter any of the notches in the lower 
part of the yoke, as the changes at the waist-line do not affect the construction of the rest of 
the garment. If the waist measure is smaller than that of the pattern, pin little darts into 
the cambric yoke to make it fit. This process will repay the slight trouble involved by 

giving a smooth and comfortably 
fitted garment. Two yokes should 
be cut from the fitted pattern for 
each pair of drawers. 

The top of the drawers is 
gathered according to the direc¬ 
tions on the label of the pattern, 
the right side being lapped across 
the left at the front, and the 
gathers are stroked. The centre 
front of both the yoke pieces is 
marked with a colored thread, and 
the lower edge of one yoke is 
basted in a seam to the gathered 
No. 3.—Yoke Sewed to Drawers top of the drawers, matching the 

notches in both and making the 
seam toward the outside; the garment may then be tried on to see if the distribution 
of the gathers is correct or if the drawers portion may need raising a little into the yoke 
at either front or back to secure a better fit. After any needed alterations are made the 
seam is stitched; the second yoke is then placed even with the one joined to the drawers, 
but toward its wrong side—that is, the inner side of the garment—and a seam is stitched 
around the top or waist edge that will hold the two yokes together. The one on the inside 
(that has not been seamed to the drawers) is then turned over toward the outside, covering 
the seam just made at its top, its lower edge is turned under a seam’s width and is basted 
and afterward stitched down from the outside, to cover the seam joining the top of the drawers 
to the first yoke. This process may be readily understood by examining No. 3. If tucks are 
desired as trimming on the drawers, sufficient length to make them must be allowed in cutting. 
In thin material one-eighth-inch tucks in clusters of three or five are effective, either with or with¬ 
out an insertion of lace or embroidery between the clusters. The tucks should be made before 
the drawers are seamed together, but the hem at the edge should be turned up afterward. 




DRESSMAKING, UP TO DATE 


107 


A gathered ruffle of either the plain material or of embroiderd edging makes a good 
finish, and this should be inset in the hem, which is cut through its folded edge for this purpose. 
Each of the two edges of the material thus separated is turned under a quarter of an inch 
for a seam, the two turnings facing each other, and the gathered and stroked ruffle is basted 
to the lower turned edge, and the upper is basted over the seam and stitched to it, as seen at 
No. 4. If no hem is allowed, the gathered edge of the ruffle is basted in a seam to the lower 

edge of the drawers, the seam toward the inside, 
and a strip of material about an inch and one- 
half wide, for a facing, is basted over the ruffle, 
in the same seam, which is then stitched and the 
facing is turned over; its free edge is turned under 
a seam and it is stitched to the drawers. This 
method is sometimes called a false hem. A gath¬ 
ered ruffle should always be divided, before gath¬ 
ering, into halves or quarters, or even eighths if 
it is a long one. Each division should be marked 
with a colored thread, and the portion of the gar¬ 
ment to which it is to be joined should be divided 
and marked in the same way. When the ruffle is 
to be applied it should be pinned at each mark 
to the corresponding mark in the garment and 
the fulness distributed evenly. 

Insertion, whether of lace or embroidery, 
should be basted in position with a row of basting 
stitches on each edge; the material underneath 
should then be cut through at the centre of the 
insertion, the raw edge so formed is turned back 
at each side, creased to hold it flat and one row 
of stitching through the bastings on the outside 



& ? • VxrLjs . 


4 "j 


V v. 




i »» 

. w?-\- « * 

• At I 




No. 5.—Facing at Tod of Drawers 


No. 4.—Embroidered Ruffle Set in Flem 

will secure the insertion and the turned-back 
edge of the material. This method will leave 
a raw edge of the material on the wrong side 
and, if a better finish is desired, the basted 
edge of the insertion should be stitched before 
the under material is cut. After stitching, cut 
the material through under the centre of the 
insertion, and trim it away to leave only 
enough to make a tiny hem turned back from 
each row of stitching. This hem is then 

stitched either by first turning it under by hand or by using the small hemmer as described 
for the felled seam. If preferred, it may be inserted in the beginning by a French scam. 

Drawers are sometimes fitted with darts instead of a yoke, and m this case the darts are 
closed with French seams or may be felled, and the plaits that are laid in the back to hold the 
fulness in place are stitched down a short distance on each fold edge. The waist edge of t 
drawers is then finished with a bias facing. No. 5 pictures the upper portion of a pair of drawers 
showing the fir«*t row of stitching. Clip the seam at the curves, turn over the facing and stitch 
af the top and bottom, as shown at the right-hand side of the illustration. In finishing 
the back the facing may be added on the straight of the goods. The drawing-strings are put 
,n one on each side and fastened firmly. If a belt is preferred at the back the upper edge 
of the drawers may be gathered and the belt finished with a buttonhole and button, thereby 
fitt ng exactly the fi-u4 for which they are intended. If one does not want to make he 
waist a certain size the plaits need not be made in the back of the drawers but after the 
dart have been made the entire top can be faced and a tape run between the facing and the 





108 


DRESSMAKING, UP TO DATE 





outside; the waist can then be drawn to any desired size. The tape does not run all around 
the waist, but should start from the second dart on each side and be securely tacked there. 

An attractive combination garment comprises a corset-cover and an under-petticoat. 
In cutting a garment of this description, where the position of the tucks is indicated by perfora¬ 
tions, if a rather coarse needle or pin is stuck through both thicknesses of the material, at each 

perforation, while the pattern is on the cloth, both sides may be accurately 
and quickly marked at the same time, as the hole the large needle leaves 
will correspond to the perforation in the pattern. The tucks may be creased 
by hand, or the tucker attachment may be set to correspond with the spaces 
indicated in the pattern. Always leave ends about two inches long cn 
both upper and lower thread. These ends should be drawn through to the 
wrong side and tied; the tucks then cannot rip open. After the tucks are 
stitched in the corset-cover the seams should be 
basted in both corset-cover and skirt and they 
should be tried on. 

Be careful in cutting the slash in the left side 
of the front breadth to make it exactly the length 
directed, otherwise the strip provided in the pat¬ 
tern for a facing and un¬ 
derlap of the placket 
opening will not fit. This 
piece should be applied 
to the front breadth be¬ 
fore the skirt is joined to 
the corset-cover. The 

No. 6.—Underlap and Facing Stitched to l° n g> straight edge is 

Slashed Opening in Skirt sewed, according to the 

directions in the label, 
to both sides of the 
slashed opening in the front breadth with the seam toward the 
inside of the skirt. Make the seam as narrow as possible and run it 
almost to a point at the lower end of the placket opening, as shown 

at No. 6. The free edge of the wide 
part of the applied piece is turned under 
a seam, and the wide part is folded along 
its length to allow the turned-under 
edge to reach the stitching of the seam 
first made and to cover that seam. The 
narrow end of the strip is turned under 
a seam at its free edge and is folded 
under at the seam first made; this forms 
a facing to the one side, while the under 
piece extends to form an underlap, as 

shown at No. 7. Both of these edges are to be stitched in place; 
the end of the underlap side is turned under and basted and then 
stitched across, and the neat and secure closing seen at No. 8 
is accomplished. 

The darts and seams of the skirt are stitched, also the under¬ 
arm and shoulder seams and the front hems of the corset-cover. 
The neck and armholes of the corset-cover maybe narrowly hemmed 
or faced, and lace may be stitched or overhanded to the edge, or a 
lace beading, through which ribbon may be run, can be sewed to the 
faced edge, and the lace edging sewed to the beading. The lower 
edge of the corset-cover and the top of the skirt should be joined 
together in a seam, which should also include a narrow bias strip 
of the material, basted next to the skirt. After the seam is stitched 
the bias strip is turned under a seam and is basted and then stitched to the corset-cover. 
If embroidered beading is preferred it may be stitched over this facing, observing that the 
facing shall not be wider when finished than the beading. Or, if preferred, the material may 
be cut away back of the beading (in which case the facing strip should have been omitted in 


No. 8.—Placket Opening 
Finished 


No. 7.—Underlap and 
Facing Folded to 
Position 











DRESSMAKING, UP TO DATE 


109 


joining the corset-cover and the skirt) and the inside finished in the way described foi 
insetting insertion. These methods are also described in the chapter “Hand Sewing Stitches.” 

A novel idea in corset-covers is shown at No. 9. The body part is made of flouncing 
in the usual w’ay, but an extension piece in yoke shape is added at the top and gives a much 
more finished appearance. This 
yoke may be omitted if desired, 
but the usual objection to corset- 
covers of this description has been 
that they are so low r cut that they 
do not afford sufficient protection. 

Embroidered flouncing thirteen 
inches wide was used for this gar¬ 
ment. It differs from the usual 
corset-cover of this description in 
being drawn into a belt or bead¬ 
ing that is the proper waist meas¬ 
ure. The low r er edge of the floun¬ 
cing is shaped that it may slope 
from the back to a dip length to 
form a blouse in the front and is 
then gathered into the waist size 
at the centre back and the centre 
fronts. To avoid an extra thick¬ 
ness of material at the w r aist the 
lowrer edge is not faced but is 
turned over a seam on the right 
side of the material and gathered 
along the edge of the fold; another 
row r of gathers is made above this 
one, the space to measure a little 
less than the width of the beading. 

Notches in the pattern show 
where the gathers should be placed 
in the front and back, and the 
places where these notches occur 

No. 9.—A Dainty Corset-Cover 





No. 10— Method of Inserting Beading 


should be marked 
with a colored thread 
so they may be plainly 
seen when basting on 
the belt. The bead¬ 
ing should be turned 
under at each side, 
leaving space to allow r 
a row of machine- 
stitching to be run in 
the plain portion of it 
and it should then be 
basted on both edges 
flat over the gathered 
lower portion of the 
corset-cover. The 
hem and the underlap 
on the front should 
have been finished 


before this. 

The yoke portion is cut from all-over tucking that can be bought ready made and in \ arious 
materials. It is joined at the shoulders by French seams and at the neck is turned over a 

























110 


DRESSMAKING, UP TO DATE 




No. 11.—Finished Effect of Beading 


seam toward the right side in the same manner as the lower edge of the flouncing. This is 
not shirred, but lace beading is sewed flat over it and conceals the raw edge. Ihe lower edge 
is hemmed over, also toward the right side and is afterward hemmed with fine stitches to the 
inside of the upper edge of the embroidery. The embroidery may be left under the arm to turn 
over to form a sort of cap protection, or it may be cut away in curve shape, and the armhole 

edged with narrow lace 
slightly fulled on. 

The front may be 
closed by buttons and but¬ 
tonholes, and sometimes 
buttonholes are worked on 
both sides and a set of 
studs used as. fastenings. 
Either of these plans is 
satisfactory in the plain 
portion, but when the em¬ 
broidered part is reached 
buttonholes are very diffi¬ 
cult to make, so loops of 
fine cord sewed along the 
right side on the under 
side of the hem and fasten¬ 
ing over round pearl but¬ 
tons, sewed in correspond¬ 
ing positions on the left 

side, prove satisfactory. The cord is not cut between these loops but is carried from one to 
the next, as may be seen in the illustration. This is a favorite method of closing lace or em¬ 
broidered shirt-waists, but for a waist the loops and buttons must be placed very close together 
and care taken that the loops are not too loose but just the right size to fit over the button. 

When embroidered beading is employed for a 
belt, as on a child’s dress, material is usually placed 
behind the beading for strength, as there is great 
strain at this point. When the beading is placed be¬ 
tween a gathered portion of a garment and the em¬ 
broidered edging, as for the top of a corset-cover or 
between the yoke and lower portion of a waist, the 
beading is joined to the garment in a French seam. 

If the opposite side is an edging, gather this and 
stitch in the same manner to the beading; first a 
seam on the right, then again on the wrong side, being 
careful that the seams are the exact width of those of 
the opposite side as seen in No. 10. 

Observe carefully that the margin is the same 
width on both sides of the embroidery before proceed¬ 
ing; if these differ, trim one side like the other so that 
the same margin will be displayed beyond the bead¬ 
ing when the work is finished. The correct effect is 
pictured at No. 11. 

In finishing the upper edge of a petticoat skirt 
the back gores may be folded to form an inverted 
box-plait and a skirt belt added, or the edge may be 

faced. A very good method of finishing the top of a petticoat is to dispense with the placket 
entirely. Instead, the entire upper edge is finished with a facing, which is preferably bias at 
the front and sides, but cut on the straight across the back gores. Stitch to the skirt with the 
seam on the wrong side, turn over and stitch directly on the edge; the remaining edge is turned 
in and stitched down flat. At the back, where the fulness should commence, cut a slit in the 
facing at each side, and work these like buttonholes, as shown at No. 12. Insert a tape or 
drawing string through one buttonhole and draw it over a short distance beyond that on the 
opposite side; tack it here firmly. A second tape is put through the buttonhole near the last 
tacking and brought out on the opposite side; tack it here firmly, just beyond the buttonhole. 


fet - ; , 

ft 


No. 12.—Tape Drawn Up in Top of Skirt 















T . of a bath or lounging robe is quite a simple matter. A suitable pattern 

ib selected; the material chosen usually being eider-down flannel. If the model has 
double-breasted closing at the front, the perforations marking the centre front are 
traced with colored thread -on both front portions and these tracings are brought one 
over the other in fitting the garment. The seams are joined according to the notches and 
the garment is tried on. If no alterations are necessary, the seams are stitched. The under¬ 
arm and shoulder seams are finished on the inside 
in a flat fell. The seam edge of the back portion is 
trimmed to within one-quarter of an inch of the 
stitching and the seam of the front portion has its 
edge turned under and is hemmed down to the 
back, covering the raw edge of the trimmed seam. 
The stitches are taken in the foundation only of the 
flannel and do not show on the right side. 

If there is a seam down the centre back it may 
be bound on each edge with seam binding, but a 
simpler finish is to open the seam, turn under each 
edge and hem it to the flannel. The finish of the 
under-arm and the back seams is shown at No. 1. 
The shoulder seam is felled like the under-arm seam. 
The seam of the sleeve may be bound, felled, or 
hemmed down on each side like the back seam. 

A deep band bordering the neck and extending 
down the front in stole effect is the usual finish, and 
if made of another material or color harmonizing 
with the robe is very attractive. White cashmere 
or light-weight broadcloth would look well on eider- 
No. l.-Under-Armand^Back Seam Finish in down flannel. This must be shaped on the robe 

after it is fitted and the shoulder seams are stitched. 
The garment should be laid out as flat as possible on a table, and a width of cambric long 
enough to reach from the bottom of the robe to the centre-back seam is pinned in place 
along the front edge and around one-half of the neck. It is then cut away even with the neck 
line. The band is made wide enough to reach from the 
front edge to the colored tracing that marks the centre 
front, and this same width is continued around the neck by 
measuring from the neck edge and cutting the cambric to the 
desired width. This pattern may be cut in paper instead of 
cambric if care is exercised in pinning and shaping the paper 
on the robe. If economy of material is desired, the front 
band and the neck-band need not be cut in one but may be 
joined at the front in a mitred seam. After the band is 
cut from the material it is joined in a seam at the centre 
back and is basted to the outside of the robe. The neck 
and front edges are left raw-edge, but the other side is 
turned under and hemmed or stitched to the robe. An 
underfacing the same shape is cut from lining. The front 
and neck edges are turned under a seam, and the underfacing No 2.—Binding the Armhole 

is hemmed to the inner side, preserving the shaping of the neck. 

The sleeves are gathered as directed and basted into the armhole. A bias strip of lining 
has one edge basted to the seam, which is then stitched. The bias strip is turned over and 
hemmed to the sleeve forming a binding to the seam as shown at No. 2. 

It is always advisable to place a second row of gathers just below the first, as this holds 
the fulness well in place, particularly when the sleeve is full. 

ill 


The Bath-Robe 












Children’s Clothes 




No. 2.—Stitching on Box- 
Plait Finished with 
Crow Foot 


No. 1.—Flem, Tuck and Plait in Front 


T HE one-piece dresses for girls and boys are on the Russian-blouse order, in that they 
hang from the shoulder with waist and skirt in one. Bloused knickerbockers are often 
worn underneath in lieu of petticoats; the construction of these is the same whether 
they are made of cloth or linen. The two methods illustrated are suitable for a little 
girl, or a boy who has not yet been graduated into knickers. 

The first dress is a box-plaited model closing 
in the front. At No. 1 is seen one side of the 
front with the plaits 
prepared. When the 
garment is being cut 
all the perforations 
must be plainly 
marked. The front 
edge is to be turned 
under at the large 
perforations to form 
a hem, but this hem 
is not stitched sepa¬ 
rately; it has its edge 
caught in the stitch¬ 
ing of the first plait 

or tuck, as can be seen in the illustration. The 
perforations indicating the sewing-line of the 
box-plait are brought together and stitched to 
form a wide plait, which is then shaped into a box- 
plait by bringing its centre line over the row of 
stitching and flattening it. It should be pressed 
and may be stitched at each side three-eighths 
of an inch from the fold edge, the stitching answering the double purpose of being ornamental 
and of holding the box-plait in shape. A crow foot may be worked at the end of each row of 
stitching, as seen atNo. 2, or others described in “Practical and Ornamental Stitches” may be used. 

The back is cut with the straight edge (which has a double perforation) on a fold of the 
material, and if this is single¬ 
width goods it is probable that 
it may be necessary to piece it 
at each side, concealing the 
seam under the box-plait. 

Bring the lines of perforations 
together and stitch the box- 
plaits as for the fronts, then 
lap the line that marks the sin¬ 
gle row of perforations between 
the box-plait and the centre of 
the back till its edge is even 
with the centre back and baste 
it there, but do not stitch it 
in a tuck as the front was 
stitched. Measure the width 
of the front tuck and at the 
same space from the centre 
back make a row of stitching 

flat through the folded plait and the back portion underneath it. This will make the back 
correspond with the front, but the plaits at the centre, being lapped much deeper than the 


No. 3.— Plaits Laid in Back 


112 













DRESSMAKING, UP TO DATE 


113 



front tucks, will give the necessary fulness in the skirt part below the stitching. The edges of 
the box-plaits should be stitched to correspond with the front. The back with one side in 
state of preparation is shown at No. 3. 

The sleeve is finished with three little box-plaits laid in the wrist portion. No. 4 shows 

how to prepare them. Bring the fold edges at each side 
of each continuous line of thread over even and baste 
the plait so formed; stitch through both plait and 
sleeve. After the plaits are stitched, stitch the seam 
of the sleeve and underface the wrist. Lay the box- 
plait in the top of the sleeve, and gather the sleeve from 
each edge of the box-plait to the notches but do not 
gather across the box-plait. 

A similar dress closes in the back, and the front is 
finished at the top with a yoke. No. 5 shows the sim¬ 


No. 4.—Box-Plaiting at Wrist 


m 


- 






: K: 


. 








No. 6.—hemmed Closing at the Back 


No. 5.—Attaching Yoke to Front 


plest way of attaching the yoke to the lower 
part. Cut the front, marking all the perfora¬ 
tions carefully, and join the pieces necessary 
to complete the width where they may best 
be concealed. Form the plaits, stitch them 
and press them open, and stitch their fold 
edges if they are to have that finish. Cut the 
yoke and turn the lower edge under a seam, 
slashing the edge, where necessary, to make it 
lie flat. Baste the yoke to the top of the plaited 
portion and to the wrong side baste a piece of 
tape, seam-binding or a bias strip of the mate¬ 
rial with its edges turned under. Place two 
rows of stitching across the yoke, stitching from 
the outside. These will catch through the tape 
that is basted underneath and which covers 
the raw edges of the seam, making a neat finish 
on the inside. This finish is desirable for a 
summer dress as it avoids lining the yoke, but 
if a lining is used it is cut like the yoke; and 
the top of the dress portions is enclosed be¬ 
tween the turned-under edges of the yoke and 
its lining. 

The way of arranging the hems and fin¬ 


ishing the back is shown at No. 6. Explicit directions referring to the finish most desirable 
for each pattern will be found on the label accompanying it. The excess material in the skirt 




















114 


DRESSMAKING, UP TO DATE 


part of the dress below the lapped hems may be cut away and the raw edges of the seam bound 
with a strip of lining; or the extra material (after being cut across at the finish of the hem) may 
be turned over to form a binding, cutting away only about an inch of it, as shown in No. 6. The 
hems may be stitched and lapped, the right over the left, the fold edge of the right side reaching 
almost to the sewing-line of the first box-plait on the left side. Turn under about one-quarter 
of an inch at the finish of the hems and stitch across with two rows of stitching to make the 
closing secure and neat. Close with buttons and buttonholes. 

Lapped, instead of plain seams may be made down the sides. In this case both edges of the 
seam are turned to one side and a row of stitching is made, from the outside, about one-quarter 
of an inch from the seam, the stitching going through the three thicknesses—the outside and 
the two seam edges on the inside. When lapped seams are made, the hem and any other out¬ 
side stitching should have two rows instead of one, with the same spacing as that at the seams. 


WASH DRESSES 


In making up wash frocks and those for Summer wear the garment is cut and fitted, after 
which the lace insertions are added; these are laid on in the proper position and basted. If 



No. 7.—Method of Applying Lace Insertion 



No. 8.—Finished Effect of Tucking and Insertion 


No. Q .—Strips of Embroidery Joined 


the insertion is narrow, the material is cut 
through the centre, as seen at No. 7; but if the 
insertion is wide, the material is cut away from 
underneath, allowing simply a seam on each side. 
The edge of this is turned in and then turned 
again on the line of the basting, as for a hem. 
The insertions are now sew T ed down from the right 
side, catching through the material which has been 
turned over. This will also be seen at No. 7. If 
the material frays badly this method wall have 
to be followed, but if it is firmly woven it may 
simply be folded over at the edge of the insertion 
and not again for a hem. 

Some of the very expensive wash dresses are 
made mostly by hand, but as these are out of the 
reach of the majority, one daintily made by 










































































DRESSMAKING, UP TO DATE 


115 


machine will answer all practical purposes. If a yoke, collar or other portion is to be made of 
tucks and insertion, the clusters of tucks may be made and a space the width of the insertion left 
between. Baste the lace in position, cut the material from the back and turn under the edge 
(No. 7), as no raw edges must show on dainty work of this kind. The finish is shown at No. 8. 

Although numberless designs in all-over lace and embroidery are shown, one is frequently 
at a loss to procure a design which is entirely to one’s taste. If a satisfactory pattern can be 
purchased in a narrow insertion, this 
can be diverted very dexterously into a 
charming and dainty yoke in the fol¬ 
lowing manner: 

Cut the yoke pattern in heavy paper 
and crease the centre. Place a width 
of insertion directly down the centre of 
the pattern and a second next this, 
allowing the margin to show between. 

Turn in the edge of the margin on both 
upper and under sides for a finish and 
baste together. Note if the embroidery 
has an up and down and place all the 
sprays in the same direction, cutting the 
insertion after each strip is fitted. 

When the pattern has been covered 
remove the yoke and work a brier or 
feather stitch on the margin between 
each strip, as illustrated at No. 9. The 
first margin shows a single feather 
stitch and the second a double feather 
stitch, while the third simply depicts 
the margin turned over and basted. 

For an insertion that is added above a hem, similar to that seen at No. 10, the method 
is a trifle different. The insertion is basted on in the proper position and the upper edge 

treated in the 
manner shown 
at No. 7. If the 
outline below 
this is straight, 
a hem is turned 
up and the raw 
edge turned in 
before the hem 
is stitched. If 
the outline is 
curved or in 
points, or if lace 
is to be added, 
a facing serves 
for the finish. 

The 1 a c e is 
gathered a n d 

No. 11.—Hamburg Embroidery Inserted basted to the 

lower edge and 





a facing of a sufficient depth to meet the insertion basted on No 12 .—Finished Effect of Insertion 
and all stitched in a seam together; otherwise the facing is 

added plain to the edge (No. 10), then turned up and the 

remaining edge turned in and basted to position, just touching the insertion and covering all 
raw edges. Extreme care must be observed in fitting the facing at curves and points. 

Insertions of Hamburg or other embroideries, when inserted in pique and like materials, 
are treated somewhat differently from the lace, as they have not a finished edge but a margin 
for sewing on. Mark the width of the insertion on the pique either by creasing or basting 
and cut, allowing a seam on each side of the basting. Sew the insertion to the pique on this 




















116 


DRESSMAKING, UP TO DATE 


line with none of the margin showing, and stitch by machine; crease the seam over on the piqu<3, 
turn the edge of the margin—but not the material—as seen at No. 11, and stitch an even line. 

This row of stitching is not objectionable, as will be seen in the finished effect developed 
in pique and shown at No. 12. Often two rows of stitching are visible, the extra one being 
at the edge of the insertion. If preferred, no stitching at all need be visible if the work is joined 
according to the method known as a French seam. 

A simple way of making imitation hemstitching on the machine is shown at Nos. 13 and 
14. Fold up the hem, and one-quarter of an inch above where the hem would be sewed cut it 

off from the rest of the skirt. Fold enough blotting-paper or 
soft paper of any sort to make almost one-eighth of an inch 
thickness; place the cut edge of the skirt and the edge of the 
piece just cut off together, as if to sew a seam; slip the blot¬ 
ting-paper between the two, loosen the tension of the machine 
and stitch an ordinary quarter-inch seam through the. two edges 
of material and the paper between, as seen at No. 13. When 
the seam is stitched all the way around, cut the paper close to 
the stitching and pull it out. The stitches between the two 
edges of the material will then look like No. 14. The edge 
toward the hem is folded back, the hem edge is folded over it, 
and a row of fine machine-stitching close to the edge holds the 
hem. Another row or a row of feather stitching should be made 
to hold back the edge of the skirt part. 

Frequently berthas and scolloped edges are desired unlined 
or without facing, and the method illustrated at No. 15 makes a 
pretty finish. To accomplish this add the gathered edging to 
the bottom of the flounce or bertha in an ordinary seam on the 
right side. Turn this seam up on the material and cover with 
a feather-stitched braid, stitching on at both edges. Unlike 
No. 19, this feather stitching is made by machine and can be purchased in a number of different 
designs. Many occasions arise when it will be found a most desirable finish. Frequently 
when one is at a loss to know just how to accomplish a correct finish, this little braid will be 
found to answer all requirements. 



No. 13.—Seam Edges with 
Blotting-Paper Between 


EMBROIDERED AND HEMSTITCHED FROCKS 


An admirable feature in the making of embroidered and hemstitched frocks for infants 
and children, is the arrangement of the material at the under-arm, whereby it may be cut 
with a straight lower edge, or with a bias seam under the 
arm and a shaped lower edge. The straight lower edge is 
occasioned by straight breadths front and back with the 
material under the arm disposed in inverted fulness. The 
same patterns are so arranged that they may be cut with 
the bias seam under the arm if desired, the latter requiring 
a curved lower edge. This feature will be found in some 
of the infants’ dresses, as well as in many of the children’s 
and girls’ sizes; it has been provided in all the newest pat¬ 
terns where it is considered to be of particular advantage, 
the idea being peculiar to Butterick patterns alone. Appli¬ 
cation for patents is now pending in the Patent Office at 
Washington. 

When the straight lower edge is desired, the fulness at 
each under-arm is laid in an inverted box-plait, according 
to the directions on the label of the pattern; this throws 
ample fulness into the skirt and is known as inverted ful¬ 
ness. This effect is desirable for different styles, as, for 

instance, where a yoke is preferred, an excessive amount of fulness is avoided across the front and 
back, since to provide the requisite width at the bottom of the skirt the fulness must be divided 
on the front and back alone, thus leaving a plain portion at the under-arm. Instead of this 



No. 14.—hemstitching by Machine 














DRESSMAKING, UP TO DATE 


117 


unequal division, the inverted fulness at this point distributes the material more evenly around 
the entire skirt and permits the latter to hang evenly at all times, similar to a gathered skirt. 

Although designs with this inverted fulness may be selected to develop almost all mate¬ 
rials used for children’s clothes, it is especially desirable for a dress which is to be made of em¬ 
broidered flouncing, or with a hemstitched hem or drawn-work. When using embroidered 
flouncing, the lower portion may be made without cutting into, or destroying the design of the 
embroider}'-, simply allowing the full depth of the needlework and margin; or, if this is longer 
than the pattern, cutting the length as directed on the label. Join the seam up the back to 
a point sufficient for the placket. 

When a dress is to be hemstitched at the bottom, this feature is equally desirable, because, 
whether the material is double or single width, the straight breadths are joined together and, 
with the inverted fulness, produce the straight lower edge which is necessary in this case as 


No. 15.—Embroidered Edging Finishing Unlined Bertha or Flounce 



well. Without this straight lower edge, hemstitching or designs of drawn-work which are so 
popular in children’s dresses, could not be properly executed since the full length of the 
straight threads could not be drawn; besides these, the worker will find many other occasions 

when this feature will be most desirable. , . , 

On the other hand, should a shaped under-arm be preferred m the patterns of same 

desi-n (as for an infants’ robe or other dress), a slightly fitted or shaped effect may be produced 
under the arm by cutting away the material beyond the line of perforations which are provided 
from the armhole to the lower edge, and joining as in an ordinary seam This lower e ge is 
shaped by cutting the pattern away at the line of perforations near the bottom, and may oe 

finished with a hem, a ruffle, or trimmed as otherwise desired. 

Judgment may be used in cutting away the material and only the surplus from the armhole 
to the waist cut awav, leaving the inverted fulness intact from the waist-line down, so as not 
to redu'e the fuln^in the skirt. In the same way a design of Empire style may have the 
material cut away only from the armhole to the depth desired. Variations may be made 
S the point of inverted fulness by the clever woman, to carry out the design of her needlework 
or for other reasons which present themselves to her Much individuality as well as prefer¬ 
ence is permitted the worker, and several dresses of quite different character may be made from 
theonenatternbv exercising the liberty permitted in the shaping, and effecting different modes 
of trimming whether these be lace and embroidery or simply hand-work for ornamentation. 










118 


DRESSMAKING, UP TO DATE 


INFANTS’ WEAR 


It would seem that there is not much opportunity for change in the making of infants’ 
garments and, while this is more or less true, there are improvements tried from time to time, 
more especially with a view to making the process of dressing an infant a less tedious operation 
and to insure greater comfort to the child in the wearing of the garments. As buttons and 
buttonholes are not desirable, except on the dresses and slips and other outer garments, it is 



usual to pin the petticoat bodies; but another plan is seen at No. 16, by which the body may be 
tied in place with wide tapes; this kind of body may be used on either the pinning blankets 
or the petticoats. 

Patterns of infants’ sets are issued which include a dress, a slip or nightgown, a wrapper, 
a skirt and a pinning blanket; the latter garment was used for the illustration. The body 
should be cut from fine cambric and, though the edges may be bound or faced, it will be found 
generally more satisfactory to make the body double. For this purpose twice the quantity 
of cambric the pattern calls for should be provided, and two body portions should be cut 
by the pattern. Join the shoulder seams of each portion and press them open, then lay the 
two body portions evenly together, the shoulder seams of both toward the outside, and stitch 
a seam around the outer edge, except at the points at each end and the space between the 
notches that indicate the part to be left open, to insert the upper edge of the skirt or pinning 
blanket. • 

After being stitched, the two body parts are turned to bring the seams inside, the edges 




I 

1 

x 

■ 

-fern 

[ 



No. 17.—Petticoat Joined to Ordinary Body 



No. 18.—Petticoat that Fastens on the Shoulder 


at the pointed ends are turned in and the end of a piece of three-quarter-inch wide tape is slipped 
in each opening; the edge is then basted, as seen in the illustration, and stitched. Baste around 
the armhole about one inch from the edge to keep the two portions evenly together, nick the raw 
edges and turn one in a seam’s width and baste it, then turn the other edge in and baste it to the 
first. Stitch by machine or overhand the two folded edges together to finish the armhole. 
Baste about an inch each side of the perforations that indicate the opening to be made at 












DRESSMAKING, UP TO DATE 


119 


the left side. Cut through the perforations and bind the opening with soft ribbon or silk tape. 
The edges of the blanket should be bound, and the upper edge gathered and basted into the 
opening left in the lo'wer part of the body or band, where a row of machine-stitching w r ill hold 
it in place. 

A petticoat body of the usual style that is to be lapped in the back and pinned with safety 
pins, is seen at No. 17. It is, of course, a matter of choice which shall be used. This body 
is not made double but is hemmed at the back edges and faced at the neck and armholes after 

the shoulders and under-arms are joined in 
French seams. The top of the petticoat is 
gathered and basted in a seam to the lower 
edge of the body. A bias strip of the cam¬ 
bric is placed next to the petticoat in the 
same seam, which is then stitched, and the 
facing piece is turned over and hemmed to 
the body. The seams in the skirt should 
be French seams, and the placket opening 
may be finished with an ordinary narrow 
hem on each edge, in which case the skirt 
should be sewed to the body to reach three- 
eighths of an inch inside of the fold edge 
of the hem, and the hem only will lap in 
fastening. 

Still another petticoat model hangs 
from the shoulders and has no separate 
body and no placket opening, the closing 
being effected on one or both shoulders by 
tying with ribbons or by buttons and but¬ 
tonholes. The neck and armholes of this 
kind of petticoat are usually bound with 
ribbon or tape, though a scolloped edge, worked with white embroidery silk, makes the little 
garment much prettier. If it is to be embroidered, do not cut out the neck and armholes, 
but mark the outline of the pattern with a colored thread as showm at No. 18. The design 
can then be stamped along the outline 
and cut out after the embroidery is 
done. The shoulder seams are not 
joined but the embroidery extends 
across. The seams under the arm 
should be joined before the embroidery 
is begun, in an ordinary seam, pinked or 
notched, the seam pressed open, and a 
row of brier or coral stitching worked, 
ornamenting the outside and holding 
the pressed seam open on the inside, or 
the seam may be felled. The bottom 
of the petticoat may be embroidered in 
scollops, or a hem may be turned up and 
finished on the outside with the same 
stitch used on the side seams. 

For the second size the petticoats 
are made a trifle different from that 
showm at No. 17, inasmuch as they are 
made on double-shaped waist-bands ex- 



No. 20.—Front of Slip 



No. 19.—Petticoat on Double Waist Band 


children. 6 These^aistfare cut from two layers of muslin; place these together and stitch 
all the ed^es except the shoulders and lower one. Clip the seams at curves, turn the wa 
taside out and'crease all the edges sharply. These maybe again stitched on the outs.de to 
strengthen the edges and hold the seams in position. This double waist is shown at No. 19. 

The lower edge of the skirt may be finished with tucks, insertions and edgings, according 
to preference. The upper edge is gathered with fine stitches and Joined tothe wustafter 
the placket has been hemmed with a very narrow hem on the left side and one 








120 “ 


DRESSMAKING, UP TO DATE 





No. 21.—Hem, Cut Across to Make Placket Finish 


No. 22.—Placket Finish 


quarters of an inch on the right side. Lap the wide hem over the narrow and tack firmly at the 
bottom of the placket with two rows of machine-stitching, preferably running slanting. 

The centre of the skirt is pinned to the centre of the underside of the waist, the gathers 
distributed evenly, and both basted together, then stitched. Turn this seam up on the band, 

turn in the remaining edge 
and stitch through the 
gathers, covering all pre¬ 
vious stitching. This 
method is shown at 
No. 19. The shoulders are 
stitched in a fell seam, 
although a French seam 
maybe used, if preferred; 
and the closing is com¬ 
pleted with buttons and 
buttonholes. Unless the 
back hems are cut wide it is advisable to put a stay-tape between the 
layers under the buttons. No. 20 shows a slip, which is always desirable. 

This is made of fine sheer Persian lawn. Fine nainsook is equally 
popular for infants’ wear, and some little slips are seen made of fine 

white dimity. The slip is in¬ 
variably made very plain and loose. In the gar¬ 
ment shown the neck is finished with a bias band, 
through which is run a narrow tape or wash rib¬ 
bon by which it is drawn up to the required size 
when worn. The sleeves are hemmed at the wrist 
and narrow lace is overhanded to make a little frill 
around neck and sleeves. All the seams should be 
felled or made French seams. 

The back is cut down through the centre to the 
indicating perforation, and each side of this opening 
is finished with a half-inch hem. Infants’ garments 
usually lap from left to right, and in order to allow 
space for this it is necessary to cut across the tuined- 
under part of the hem on the left side of the placket 
opening, as shown at No. 21. This cut piece is then 
laid in one or two small plaits and sewed to the 
underfold of the hem of the right side; this right 
side he m is then 
lapped directly over 
the hem of the left 
side, and a row of fine 
back-stitching will 
hold the two hems 
and little plaits to¬ 
gether. The hem of 
the left side will have a raw edge where it was cut 
across, and this is to be narrowly turned under and 
another row of back-stitching, made from the outside 
of this point, will hold this in place. The finish of this 
placket is shown at No. 22. 

Small lace or pearl buttons are sewed on the left 
side and corresponding buttonholes are worked on the 
right side. The bias neck-band is cut across, through 
the outside only, just in front of the hem on the left 
side of the back opening, and this cut is buttonholed 
around and one end of the ribbon is drawn through it 

that it may just meet the other end that falls from the opening in the end of the neck-band at 
the right side. This, as well as the inside finish of the garment and the finished placket opening, 
is shown in the slip at No. 23. 


No. 23.—Inside Finish of Slip 


Nos. 


24 and 25.—Hand-Run Tucks and 
Fancy Stitches 






















DRESSMAKING, UP TO DATE 


121 


The dress is made in practically the same way as the slip, with the variation of a yoke. 
Nos. 24 and 25 give suggestions for decorating yokes, ruffles and the bottom of dresses with 
hand-work, the number of tucks in each cluster and the fancy stitching being varied to suit. 

The yoke of the dress is generally made of tucking combined with lace or embroidery, and 
a bias seam at the centre of the yoke, making the tucks 
join diagonally, is a variation from the usual way. To 
do this the front and back portions of the yoke pattern 
are joined at the shoulder seam, and each side of the 
yoke, from front to back, is in only one piece. No. 26 
shows the way the pattern should be laid on material, 
previously tucked, in order to make the bias front seam. 

A piece of French lawn measuring a trifle more (on the 
length of the material) than the yoke measures from 
back to front should be hemmed on one edge and as 
many clusters of tucks, evenly spaced, made as are re¬ 
quired by the outline of the yoke. Two of these pieces 
are required, the hems and tucks reversed that they 
may match on the opposite sides. The front seam 
should be joined with hemstitch-beading, and for this 
the seam on the yoke may be turned back and the bead¬ 
ing overhanded to the turned edge; or, the seam may 
be trimmed away to leave only one-eighth of an inch, 
then rolled and the beading whipped on. The dress is 
gathered between the notches and basted, then stitched 
to the yoke in a seam turned toward the outside of 
the garment; this seam is pressed to one side and a 
narrow band of the dress material, turned in at both 

sides, is bast¬ 
ed over the 
joining, corn 
cealing the 
seam. (No. 

27.) A nar¬ 
row frill usually finishes the yoke, and this should 
be gathered and stroked and basted to the seam 
joining the skirt and yoke before the band is applied. 
The band should be finished with a row of stitching 
at each edge. The back is attached to the yoke 
in the same way, the placket being first made as 
already described. 

Little shoes and slippers, made of washable 
material, are a change from the inevitable knitted 
sock. The slipper shown 
in No. 28 is made of fig¬ 
ured pique and is lined with flannel. Allowance is made on the 
pattern for seams, but a prettier way is to bind the edges with the 
narrow bias bands that can be bought ready cut and folded. This 
does away with the seam inside the finished shoe or slipper. In 
this case the seam allowance must be trimmed off both sole and 
upper part. The pique or other material selected is cut from the 
slipper pattern according to the directions contained in the label. 

The sole is cut from two thicknesses of silesia or other stout lining 
material. A lining for both upper and sole is then cut from flannel. 

The outside material and the flannel lining are seamed separately 
At the back and the seams are pressed open; the lining and the outside are basted together 
evenly. The upper and lower edges of the slipper are then bound with the bias binding. 
The upper part and sole are overhanded together on the wrong side and the shoe is turned right 
side out. The ankle straps are lined with cambric. Work the buttonhole in the right-hand 
strap of one slipper and in the left-hand strap of the other. Little rosettes of lace or of baby 
ribbon may furnish the decoration, or the toe may be daintily embroidered in tiny flowers. 



No. 28.—Pique Slipper 



No. 27.—Yoke Joined to Skirt 



No. 26.—To Cut a Yoke with a Bias Seam 
in Front 











BOYS’ 


Suits 


W HILE the making of a boys’ suit is not at all a difficult matter, there are a 
few details of finish, more especially the pockets, that explanation may simplify. 
The pocket should be in place in each section of the garment before the portions 
are joined. If the directions are followed, the rest of the finishing will be 
found an easy matter. 

After the cloth is shrunk and pressed, lay the entire pattern out at the same time, 
disposing it to the best advantage, according to the directions on the label. Trace with tailors’ 
chalk the seams along the perforations that mark the sewing line of the outlet seams. Mark 
these seams with tailors’ tacks through the two thicknesses of cloth, with one long and two 
short stitches, as described in the chapter “Practical and Ornamental Stitches”; cut the 
stitches and separate the pieces. Two fly pieces should be cut from the cloth and three from 
lining material. A strip of lining will be needed to face the top of the trousers, and the 
inside band in which the buttonholes are to be worked should be cut from strong drilling. 

Mark the position of all the pockets as indicated by the perforations. The pocket in the 
right side of the back of the trousers and in the left side of the front of the jacket are welt- 
pockets without overlapping pieces. 


THE TROUSERS 



No. 1.—Preparing the Pocket Opening 



No. 2.—Facing Drawn through Pocket 


After the darts in the back portions of the trousers are stitched and pressed open, a 
thread of colored cotton should be run along the mark for the welt-pockets, so that it will 
show through both sides of the material. A piece of the cloth two inches wide and one 

inch longer than the pocket 
mark should be basted 
with its right side facing 
the right side of the ma¬ 
terial and in such position 
that the pocket mark will 
run directly through its 
centre and leave half an 
inch of the cloth beyond 
the mark at each end. 

From the wrong side 
make another basting mark 
through the one already 

made in order that it may show through the applied piece on the outside. A piece of canvas the 
same size as the piece of cloth is basted, in just the same position, to the wrong side of the mate¬ 
rial. From the right side two rows of stitching, each one-eighth of an inch distant from the pocket 
mark, are made through cloth and canvas. This distance may vary according to the material 
used. If it is loose-woven canvas, mohair or woollen crash, the seam must be made a little 
farther away from the pocket mark, but the neat finish of the pocket depends on its being 
as narrow a seam as possible. Finish the two rows of stitching exactly even and tie the ends 
of the thread firmly; do not stitch across at the ends; cut through carefully exactly on the 
pocket mark; use a small pair of sharp scissors or a knife, and cut exactly the length of the 
mark. If a wider seam has been made, it will be necessary to make a diagonal cut from not 
quite the end of the mark to the end of the row of stitching, leaving a little pointed piece of 
the material across each end; when the seam is narrow, however, this is not necessary. These 
rows of stitching and the cut pocket opening are shown at No. 1. The piece of cloth is now 
pushed through the pocket opening and basted around from the outside, letting the loose 
piece of cloth form a welt or cord beyond the stitched edge of the seam, but no more than an 
eighth of an inch, that the opening may have a corded and not a bound appearance. At the 

122 



DRESSMAKING, UP TO DATE 


123 




No. 3.—Pocket Portions 
Stitched in Place 


ends the cloth piece can be drawn entirely through the opening and basted flat on the wrong 
side as shown at No. 2, being careful that it is smooth and even all along both sides. 

It will be found more satisfactory to press the pocket opening thoroughly before stitching it 
from the outside, and it should be held in position by drawing the two cord edges together with 
loose overhand stitches. The outside stitching should be placed as close to the seam as possible. 
The pocket may be stitched in at the same time if the pocket opening is on a straight line. 

Cut from stout lining material two pieces for each pocket, leaving one piece an inch longer 
than the other. Lay the two pieces of the pocket together in such 
position that they will hang straight when the garment is worn; 
if in the jacket, make them hang parallel with the front edge of the 
jacket and mark the top edges on the exact line of the pocket open¬ 
ing. The longer piece should be faced at its top edge with a piece of 
the cloth two inches deep, and stitched at its lower edge to the pocket. 

It is advisable to round the lower corners of the pockets and 
both portions should be trimmed off alike. Lay the shorter pocket 
piece on the inside of the garment, the lower edge of the pocket 
toward the upper part of the garment, and the straight edge of the 
pocket extending one-half inch below the pocket opening and on a 
line with it. Baste the piece securelj’’ in place and then place the 
row of finish stitching on the outside. This row holds both the welt 
edge and the lower pocket portion in place. The lower pocket por¬ 
tion is now turned down, its rounded end toward the bottom of the 
garment and the upper or longer pocket portion is laid over it, their 
lower or rounded edges even, and both toward the bottom of the 
garment and with the facing, on the longer portion toward the cloth 
of the garment; baste this portion firmly in place and stitch through 
from the outside close to the seam as on the lower edge. The two 
pocket portions are shown in No. 3. The edges of the pocket 

portions should then be turned over a seam all around and stitched close to the edge fold, the 
raw edges toward the inside of the pocket. Sew only the pocket portions; do not catch 
through the cloth. A buttonholed bar, as described in the chapter “Practical and Orna¬ 
mental Stitches,” stays the ends of the pockets. Sometimes this pocket opening is shaped 

in a curved line, and when this is the 
case it will be better to apply the 
stitching to hold the welts first, 
then cut the tops of the pocket 
pieces in corresponding shape and 
hem them in place by hand. A 
stay-piece of soft canvas should run 
from each end of the pocket to the 
waist-band. 

The fly portions should be sewed 
to the fronts next. This is illus¬ 
trated at No. 4. Baste one of the 
pieces of lining material, cut by the 
fly-piece pattern on the outside of 
the front edge of the left front por¬ 
tion, with the notches even. Stitch 
a narrow seam from the top to the 
notch and turn the facing over to 
the wrong side, allowing the cloth 
edge to extend a trifle that the 
lining may not show at the edge; 
baste this firmly in place. Take the 
cloth fly piece that will fit directly 

under this faced left front when the wrong side of the cloth of the front portion and the wrong 
side of the fly piece face each other and face it with a fly piece of lining, making the seam on 
'the curved side and extending it to the notch; stitch the seam and turn it and baste the facing 
in place The buttonholes may be worked in this fly piece now or aftei it is stitched in plate, 
they are worked from the cloth side, the first one to come just below the waist-band. A row 


No. 4.—Inside View of Fly and Pocket 













124 


DRESSMAKING, UP TO DATE 


of stitching one-quarter inck back of the buttonholes and through both outside and fty piece 
holds it in place against the facing of the left front portion. The raw edges at the inside should 
be overcast. The other cloth fly piece is faced with lining, but the seam is sewed at the outer 
or rounded side. The curved side of the cloth only is sewed in a seam to the curved edge 
of the right front portion. This seam is pressed open. The facing of lining has its curved 
edge notched and turned under a seam, and is basted over this pressed-open cloth seam, and 
a row of stitching made on the front portion close to the seam holds the facing in place. 

There should also be a row of stitch¬ 
ing on the free edge of this exten¬ 
sion fly piece to hold it and its 
facing securely together. Small 
trousers buttons are sewed on to 
correspond with the buttonholes in 
the fly. 

The side pockets are next to be 
sewed in place, and the method is 
shown in No. 5. A piece of cloth an 
inch and one-half wide should be 
basted to the front portions by a 
narrow seam, and extend half an 
inch above and one inch below each 
of the perforations in the pattern 
that indicate the size of the pocket 
opening; these points should have 
been carefully marked with a thread 
when the seams were marked. The 
pockets are cut from silesia or other 
strong lining material. One piece 
eight and one-half inches wide and 
eight inches deep is required for 
each pocket, in the seven-year-old size. In the larger or smaller sizes, the size of the pockets 
will vary accordingly. Seam one side of the silesia pocket piece to the front portion over this 
small facing piece so that one seam 
will hold both, and stitch as far as 
the mark for the pocket opening. 

The raw edge of the cloth facing 
should be turned under and stitched 
to the inside of the pocket. The 
back edge of the lining pocket 
should have one edge folded over 
a seam and the fold edge thus made 
should be basted even with the 
seam mark to the under or wrong 
side of the back portion of the 
trousers. A row of stitching, ex¬ 
tending from the waist to the bot¬ 
tom of the pocket opening will 
hold this in place, and the edge of 
the extension piece on the back 
portion of the trousers forms the 
facing for the other side of the 
pocket. It should be turned under 
at its edge and stitched to the inside 
of the pocket. Tie the ends of all 
stitching securely. 

The outside seam of the leg, below the pocket, may now be seamed, then both edges of 
the seam aie turned toward the front and a row of stitching is placed on the outside one-eighth 
of an inch from the edge, giving a lap or welt seam finish. The seam should be closed all the 
way down if the legs are to be finished over an elastic in knickerbocker style, or the allowed 
hem on the front portion may be turned under and have buttonholes worked in it, and the 




No. 5.—Front Showing Lap and Pockets 










DRESSMAKING, UP TO BATE 


125 


underlap on the back portion may be underfaced and have buttons sewed on it. The seam 
Irom the top of the pocket to the waist should also be stitched in a seam. Bring the finished 
pocket edge of the front portion over even with the seam mark on the back portion and baste 
nrmly in position, the pocket turned toward the front as shown at No. 6. 

This description is for trousers that close at the front, with a fly; for smaller boys the small 
facing is attached to the right side of the front according to the notches, and the front seam 
is closed from the upper notch to the waist. The extension piece on the back portion of the 
trousers is not slipped inside the pocket, but the back edge of the pocket is faced with a piece 
of cloth both inside and outside for the space of the pocket opening, and a back and front 
waistband are used. An illustration of this pocket is shown at No. 7. The fronts lap over 
the back portions to bring the double perforations, indicated in the label, together, and the 
extension piece on the back portion is underfaced to form an underlap. 

The pocket portion attached to the front piece is arranged in the same way as in the fly- 
front finish. The inside of these trousers is pictured at No. 8. 

A low of stitching close to the edge makes a firm finish for the pocket opening on the front 
portion, and a second row is usually placed a quarter of an inch inside of the first, while a bar 



No. 7. Side Pocket Stitched to Front No. 8.—Front and Back Portions of Trousers with Side Pocket 

Piece of Trousers 


of several threads of silk, overcast or buttonholed, caught through the cloth and both sides 
of the pocket, runs from one row of stitching to the other at the upper and lower finish of 
the pocket opening. The edges of the lining pocket are turned in a seam toward the 
inside and stitched together close to the folded edge; one or both corners of the pocket may 
be rounded. 

The inside seam of each leg is now to be stitched and the seams pressed open; the two leg 
portions should then be joined by a seam down the back, extending from the waist to the notch 
in the lower edge of the fly piece, including the seams of the fly pieces below the notches in the 
seam with the trousers portions. This seam should be pressed open and covered with a tape 
or a bias strip of lining basted flat on the open seam and stitched from the outside with a row 
of stitching each side to form a stay. The end is turned under and neatly hemmed down at 
the end of the fly stitching. A strong stay stitch or overcast bar should be worked on the 
outside at the finish of the fly opening 

The top of the trousers should be turned over a seam toward the wrong side and a facing 
hemmed to it. The band should be made and the buttonholes worked in it according to the 
perforations. It is basted in place, and one row of stitching made from the outside holds 
the lower edge of the band and the facing. A strong tack thread should catch the band and 
the outside portion together between the buttonholes. The fly piece should be caught to the 
facing of the left front in the same way. The but onholes in both fly and waistband should 
be worked with twist or stout thread and made strong at the ends. 



126 


DRESSMAKING, UP TO DATE 


A RUSSIAN BLOUSE JACKET 



T HE making of a Russian blouse jacket is quite a simple matter. Mark the pocket with 
tailors’ tacks, face the pocket opening and insert the pocket as explained for Nos.l, 2 and 3. 

Join the seams and finish on the outside with a row of machine-stitching at each 
side of the seam. The seams, however, should be bound first, and this may be accom¬ 
plished by stitching a bias strip of farmer satin on the edge; turn it over to be held in place 
by the top stitching; other methods of binding, as explained in the chapter “Important 
Points and Aids in Dressmaking,” may be 
adopted if desired. Should a finish be pre¬ 
ferred which will require no binding, the 
seam edges may be cut wider and arranged 
for lap seams, as explained in the chapte ■ 

‘‘Novel, Artistic Seams,” or any of the 
other finishes described in this chapter 
may, if desired, be chosen. Fold over the 
front edges according to the perforations, 
also the hem on the bottom and finish with 
two or three rows of stitching. 

The deep collar on the jacket or blouse 
should be lined with a piece of lining ma¬ 
terial of the same shade. The collar should 
be turned under a seam at its edge, and 
one or more rows of stitching or braid 
placed around it; the lining, also turned 
under a seam, is hemmed to the underside 
of the collar and covers the wrong side of 
the stitching. The neck portion of the 
collar is joined to the neck, according to 
the notches, with the seam toward the out¬ 
side of the jacket or blouse. The collar 
lining is then turned under at its neck 
edge and hemmed to the neck of the blouse, 
concealing the seam; this method is shown 
at No. 9. 

Bind the seams of the sleeves in the 
same manner as the seams of the jacket were 
bound, and face the wrist, finishing with a 
cuff or not, according to the directions on the 
label of the particular pattern. Baste the 
sleeves in the armhole, and if the position is 
correct, stitch them in by machine, and bind 
the raw edges. Russian blouse jackets of this 
character are rarely made up with linings. 

Buttons and buttonholes effect the clos¬ 
ing whether the jacket is single or double 
breasted and a belt either of the material or 
leather (perferably patent leather) is slipped 

through loops of the material which are fastened at each under-arm seam. When a cloth 
belt is used it should be stitched around to correspond with the stitching on the collar and 
the front and lower edge of the jacket. 

There are many variations of the Russian blouse jacket, but the methods of finishing 
vary so little from the model just explained that the worker will have no trouble whatever 
in accomplishing a correct finish. The buttonholes should be carefully worked, and for these 
the eyelet buttonhole is preferred. Directions for working this, as well as the correct manner 
of sewing on the buttons, will be found in the chapter entitled ‘'Practical and Ornamental 
Stitches.” 


No. 9.—Collar and Lining of Russian Blouse Jacket 




DRESSMAKING, UP TO DATE 


127 


A NORFOLK JACKET 



In making a Norfolk suit the method is very similar to the Russian blouse. Cut the mate¬ 
rial carefully as directed for the previous suit, observing and marking perforations for seams, 
pocket opening, etc. Take up the darts in the back of the trousers and insert the pocket, 
finishing the trousers according to the general directions just given. 

The jacket illustrated was made with a seam running to the shoulder in both the front 
and back portions; the simulated box-plait is afterward applied directly over these seams and 

covering them. 

Join the first and second front pieces, if 
the front is not in one piece, and press the seams 
open. Leave open the space between the 
notches that indicate a pocket opening in the 
seam in the left front. A small pocket is set 


No. 10 — Jacket Front with Canvas and 
Pockets 


in here by sewing a piece of drilling in a 
seam to each side of the opening, the seam 
toward the inside. Push the drilling pocket 
through the opening and stitch it around. 
Insert a pocket in each side of the jacket in 
the manner already described for the trou- 



No. 11.—Outside of Jacket Front Showing Pockets 


sers back. Face the fronts with canvas from 
the shoulder as seen in No. 10. Join the 

back of the jacket to the side and front pieces and press the seams open. I he upper cor 
of the front that is to turn over as a continuation of the collar is to have the canvas and 
cloth held together with “padding stitch.” This is described in the chapter ‘ Practical and 
Ornamental Stitches.” At No. 11 is shown an outside view of the front with the canvas am 

pockets in place. ' 









SEP 28 19Ch 




128 DRESSMAKING, UP TO DATE 

ft 

The collar is cut from cloth, and a canvas interlining is cut a seam smaller all around. 
The perforations that mark the turning line of the collar should be traced, and several rows 
of machine-stitching fill in the space. The remainder of the collar is to be filled with padding 
stitch as shown at No. 12. 

Cut canvas interlining for the box-plaits three-quarters of an inch narrower at each side 
than the plait. Turn over this three-quarters of an inch, baste it, then stitch three-eighths 


No. 12.—Collar with Machine and Padding Stitches 


of an inch from each edge. It is better to stitch the plaits 
separately and slip-stitch them to the jacket. The plait is 
shown at No. 13. Interline the belt with canvas, and hem 
a lining to the turned-over cloth. 

The cloth edges of the collar are turned over the canvas 
all around and cat-stitched to it. The collar is then 
hemmed by hand to the outside of the jacket, the end of the 
collar and the turned-over corner at the top of the jacket 
fronts forming g notch-collar. The canvas should be trimmed 
awaj r a seam from this corner and down the front of the 
jacket. Cut a facing for the collar and a front facing like 
the front, extending back an inch beyond the turned-over 
corner at the top. Lay the front facing face down on the 
outside of the jacket fronts and stitch a seam around the 
corner and down the front of the jacket; turn over and 
baste near the edge. Baste the collar facing to the collar, 
turn under the edges and slip-stitch to the collar, and to the 
front facing w T here it joins it at the top. Stitch one or two 
rows around the edge of the collar and down the fronts ; turn up the bottom of the jacket. 

Cut the back lining like the cloth back, but allow a half-inch plait down the centre of 
the lining. Cut the lining of the front and side pieces in one, laying a dart-like plait from 
the shoulders, running out to nothing about five inches down. Many valuable points will be 
gained by reading the chapter “Coats and Jackets,” as much of this information is applicable 
to the making of boys’ coats and jackets, particularly in regard to the collar, facings and the 
inserting of the lining. 


No. 13.—Box- 
Plait Ready 
to Apply to 
Jacket 


t 

































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